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THE J. PAUL GETTY MUSEUM LIBRARY 











THE CAPTIVE 











MISS HELEN MENKEN AS IRENE DE MONTCEL 


THE CAPTIVE 


BY 
EDOUARD BOURDET 


Translated from the French by 
ARTHUR HORNBLOW, Jr. 


Introduction by 
J. BROOKS ATKINSON 


BRENTANO’S 
PUBLISHERS NEW YORK 
MCMXXVI 





COPYRIGHT, 1926, BY EDOUARD BOURDET 


All rights, including stage, motion picture, and 
amateur production, are reserved. No perform- 
ance or public reading may be given without 
the written consent of the author, or his rec- 
ognized agents. Application should be made 
to the author, in care of his publishers. 


MANUFACTURED IN THE UNITED STATES OF AMERICA 


WHE J. PAUL Gi 
LIBRAR* 


TO 


GILBERT MILLER 


WHOSE SPLENDID PRODUCTION OF THIS PLAY HAS 
EARNED THE ADMIRATION AND GRATITUDE OF 
THE AUTHOR AND HIS TRANSLATOR 





t 





INTRODUCTION 


During the summer and early autumn of 1926, 
rumors that an American producer was bringing to 
America an adaptation of Bourdet’s “a Prison- 
niére” were received with a good deal of uncertainty 
by the more responsible citizens of New York. For 
the theatrical news from Paris, where this trenchant 
drama began its career, had stressed the audacity of 
the theme, with a general tintinnabulation about 
censorship and the decadence of the stage. And 
those who were already nauseated by the fetid 
smells of several plays then current were quite nat- 
urally distressed at the prospect of sensationalism 
in the form of abnormality. Surely, they complained, 
themes of this character are not fit subjects for open 
portrayal on the stage. Indeed, the audience as- 
sembled for the opening performance at the Empire 
Theatre was obviously prepared for a violent shock. 
But whatever the expectations may have been, the 
objective treatment of the theme and the austere 
quality of the performance cleared the humid air 
like a northwestern breeze. With Mr. Hornblow’s 
adaptation and Mr. Miller’s masterly direction “The 
Captive” became, as it was written, a restrained 
though uncompromising tragedy, rather than a 
malodorous truckling to low curiosity. Thus for the 


thousandth time it was evident that the motives of 
vii 


Vill INTRODUCTION 


a dramatic production are of far greater importance 
than the details of the subject-matter. 

Not that M. Bourdet has cloaked his drama under 
the sanctimony of the crusader’s armor. If one 
may judge by the haunting impression left by the 
grim performance, M. Bourdet is interested, not 
in the details of his theme, but in their illumination 
of human character; and he is by that sign pre- 
eminently a dramatist. None of the soul-flagella- 
tions of a Rousseau or a Strindberg alleviates the 
horror by distributing the blame among gods and 
men, or by sighing over the sensual temptations or 
the squalor. Choosing a Greek theme M. Bourdet 
treats of it, if not in the classical manner, then in 
the modern counterpart to that tragic inevitability. 
Tn fine, the play approaches its subject objectively. 
And since M. Bourdet understands his characters 
through and through, his conclusion is foreordained. 
In reading it we have no feeling that he is shaping 
it to prove an arbitrary thesis, or to lead his char- 
acters through theatrical adventures for lurid effects. 
So “The Captive” moves swiftly through three long 
acts; even before the nature of the malady is de- 
fined in the second act, doom swims over the play 
like a thick, black cloud. 

Although, as the reader will soon discover, the 
occasion for “The Captive” is the fact of an abnor- 
mal relationship between two women, the interest is 
solely in its revelation of character. M. Bourdet has 
described his people as ordinary well-bred human 
beings, whatever their failings may be. Irene’s ten- 
derness towards her little sister, and her own humil- 


INTRODUCTION 1X 


ity and -anguish, reveal her as a young lady of fine 
instincts; she is in no sense the neurotic debauchee 
of tawdry melodrama. Jacques Virieu, likewise, is 
a young man of high impulses; and of sufficient 
strength of character to fly recklessly in the face of 
danger to support an ideal. Unlike the contem- 
porary school of pettifogging novelists and drama- 
tists, with their garish sophistication, M. Bourdet 
does not excuse his characters on the score of con- 
genital weakness or worldly disillusionment or 
pseudo-scientific buncombe. No, indeed, he is not 
interested in excuses; his is a tragedy of conse- 
quences. He shows Irene estranged from her father, 
playing false to her ingenuous sister, and fast los- 
ing all the friends with whom she once associated 
freely. He tortures her before Jacques. Once she 
was his ideal, a woman to whom he looked up; now 
she comes as a petitioner for mercy and pity rather 
than respect. In the second act, M. Bourdet shows 
the husband of the unseen Madame d’Aiguines—a 
simulacrum of a man, gray before his time, wretched 
and tormented, unable to escape from a poisoned 
home. All these characters, involved in various ways, 
have been withered a little by their proximity to the 
festered one. And if any proof were needed of the 
sincerity of M. Bourdet’s purpose, his treatment of 
Madame d’Aiguines would be sufficient. They talk 
of her occasionally, but by keeping her in the back- 
ground and by describing the blighted fruits of her 
influence, M. Bourdet retains the fine objectivity and 
austerity of his drama. 

M. Bourdet casts his tragedy in the familiar three- 


x INTRODUCTION 


act mold of crisp, economical playwrighting. With- 
out bothering his head too much about details of 
craftsmanship, without wasting time over the motiva- 
tion of exits and entrances, he pursues his course 
vigorously to the end. As the composer contrasts 
his main theme with fragile, minor developments, so 
M. Bourdet heightens his tragedy by rippling inter- 
ludes with Gisele and Francoise Meillant, fresh, 
charming and frank. This is M. Bourdet’s first 
notable play; he is still in his thirties. His first 
play was “Le Rubicon,” put on at the Théatre 
Michel in 1910. During the war M. Bourdet aban- 
doned his career as a playwright to fight in the infan- 
try; he was wounded twice, cited three times for 
bravery, and given the cross of the Legion of Honor. 
In the trenches he met as a fellow officer a young 
man who was deliberately seeking death in battle as 
an escape from the wretchedness of his home life. 
This man corresponds to the d’Aiguines of “The 
Captive,” and was the germ of the present play. 
The planning and writing of the tragedy occupied 
M. Bourdet off and on for two years. Within a year 
after its first appearance in Paris, “The Captive” 
was played in Berlin, Vienna, Budapest and New 
York. Mr. Hornblow’s notable adaptation commu- 
nicates the precise flavor of the original. 


J. Brooxs ATKINSON. 
October, 1926. 


LA PRISONNIERE by Edouard Bourdet was 
presented for the first time on any stage at the 
Théatre Femina in Paris on March 6th, 1926. 
Adapted by Arthur Hornblow, Jr., it was presented 
for the first time in English under the title of THE 
CAPTIVE at the Empire Theatre in New York, on 
September 29th, 1926. The play was presented by 
the Charles Frohman Company and produced by Gil- 
bert Miller with the following cast: 


EAL 8 Ot ee re NorMAN TREVOR 
IRENE DE MONTCEL.......... Heten MENKEN 
GISELE DE MONTCEL............ ANN TREVOR 
PRC UM VIR Oo eee. Basin RaTHBONE 
PPP PRARI BIN TG Ge bs ce cs ArtTHUR WONTNER 
FRANCOISE MEILLANT......... Ann ANDREWS 
MLLE. MARCHAND........... WINIFRED FRASER 
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THE CAPTIVE 


THE CHARACTERS 


Dre Montcer 

_ Irene pe Montcen 
GISELE DE MontTce. 
Jacques VIRIEU 
D’ AIGuUINES 
Francoise MEILLANnt 
Mure. MarcHanp 
JOSEPHINE 
GEORGES 


Acr I: Irene de Montcel’s room in her father’s 
apartment; Paris. 

Act II: Jacques Virieu’s study. One month 
later. 

Act III: The same. A year later. 


THE CAPTIVE 


ACT ONE 


SCENE: IRENE’s room in her father’s apartment, 
Paris. A door at the left leads to a dressing room; 
another in back gives onto the hall, a third at the 
right connects with GIsELE’s room. 

The room is furnished simply but with period 
pieces of uncommon taste; the bed lies in a recess, 
there is a small divan, some comfortable chairs and 
a table. On the latter stands a telephone. 

On the walls hang several photographic copies of 
paintings of the Italian school. In the far corner 
stands an artist’s easel, faced toward the wall. 

When the curtain rises the room is empty; then 
the door at the right half opens and GisELE, an at- 
tractive girl of seventeen, looks in. 


GISELE 
[Calls]: Irene? [She enters and proceeds to the 
door at left] Irene? [Looking off] She’s not 
there. [Muzie. Marcuanp, GIsELE’s governess, en- 


ters at right. 
z 


4 THE CAPTIVE 


Mure. MarcHanp 
I told you she hadn’t come in yet. It’s only six 
o’clock . . . that’s much too early for her. 


GISELE 
But she told me she’d be back early to-night be- 
cause of the dinner. She’s supposed to help me fix 
the flowers for the table. 


Murr. Marcuanp 
I wouldn’t count on her too much if I were you. 
Would you like me to help you? 


GISELE 
Oh, I’d rather she did. If I do them without her 
they won’t look like anything. 


Muruzt. MarcuHanp 
Very well. 


GISELE 
Isn’t she tiresome always being late like this! 
What am I to do about my dress? 


Muir. Marcuanp 
What about it? 


GISELE 
I’ve got to know what dress to put on! 


Mure. MarcHanp 
Surely you don’t need your sister to decide that? 


THE CAPTIVE 5 


GISELE 
Well, you see we’re the only two women at dinner 


to-night, and we must arrange that our dresses don’t 
clash. 


Mure. Marcyanp 
Ah, yes, that’s so. 
[JosEPHINE, a maid, enters at the back, carrying a 
gown to be put away in the dressing room. | 


GISELE 
Josephine, has Irene told you what dress she’s 
wearing to-night? 


JOSEPHINE 
No, mademoiselle, she hasn’t. 


GISELE 
Oh, Lord! Now I’ve no idea what to wear myself! 
[ JOSEPHINE goes out. | 


Muze. Marcuanp 
Wear your yellow dress. It’s charming—and it’s 
very becoming. 


GISELE 
My yellow dress! Don’t be silly! 


Murr. Marcuanp 
Gisele! A little more respect for your governess, 
if you please! 


6 THE CAPTIVE 


GISELE © 
I’m sorry, mademoiselle. I respect you, dear,— 
but when it comes to clothes I must say you don’t 
know what you’re talking about! 


Mure. Marcuanp 
But what have you got against the yellow dress? 


GISELE 
Much too formal! It’s just a little political din- 
ner . .. papa said the men won’t dress. We'll be 


only eight in all . . . a few antiques from the For- 
eign Office . . . and a couple of ‘senators. It’ll be 
a regular wilderness of whiskers! 


Murr. Marcuanp 
Gisele! If you please! 


GISELE 
What’s the matter? 


Mure. Marcuanp 
If you’re not a bit more careful in your language, 
you’ll never get along in Rome, my dear. Please 
remember that you’re to be very nearly an official 
personage there. The daughter of an ambassador 
is somebody. Every word of yours will be noticed 
and criticized, you may be sure. 


THE CAPTIVE 7 


GISELE 
[Smiling]: Nonsense! 
[M. pe Montcen appears at the back. He is a tall, 
distinguished looking man of fifty.] 


Montcen 
Is Irene here? 


GISELE 
No, papa, she’s not in yet. 


MontceL 
[Half to himself|: Naturally! [Aloud.] Good 
evening, mademoiselle. Don’t getup. [T'o G1sELz. | 
Please see that I’m told the moment she gets in. 


GISELE 
Very well, papa. 
[Montcet starts to go. | 


GISELE 
Papa? 
Montcen 
Yes? 
GISELE 


If it’s about the dinner that you want to see Irene, 
you might tell me... . 


8 THE CAPTIVE 


Montcen 
No, it’s not about the dinner. 


GISELE 


Oh. 


MontTcen 
Have her inform me as soon as she comes in, won’t 
you. .. . Even if I have some one with me in the 
study. 


GIsELE 
Yes, papa. 
[MontceEL goes out. | 
So! The storm’s ready to break! Well, I felt 
it coming! 


Mute. Marcuanp 
Is there something the matter between Irene and 
your father? 


GISELE 
Why, they haven’t said a word to each other for 
over a week. “Good morning” “Good evening.” 
That’s all. Oh, it'll be jolly in Rome if things go 
on like this! At least here, papa is away three days 
out of four. Butin Rome... 


Mure. MarcHanp 
What’s the quarrel about? 





THE CAPTIVE 9 


GISELE 
Ah! That’s a mystery! [Pauwse.] Do you re- 
member a few days ago after luncheon . . . when 


Irene asked papa if she might speak to him alone 
. in his study? 


Muir. MarcHanp 


Yes, I remember. 


GISELE 
It all began then. I’ve no idea what they said to 
each other. I tried to get it out of Irene but 
couldn’t. She told me not to worry about it and 
that it would all come out all right. Then she 
changed the subject. . . . I saw it was no use in- 
sisting. 


Mure. MarcHanp 
Do you think it’s because your father was vexed 
with Irene for having refused that young man? 


GISELE 
What young man? 


Murr. Marcuanp 
The young man your aunt introduced here. You 
know perfectly well. 


10 THE CAPTIVE 


GISELE 
Oh, good heavens, no! That’s ancient history .. . 
why, it was over a month ago. No, no—that’s been 
forgotten. Anyhow, that makes the third suitor that 
Irene’s refused this year so I suppose papa’s begin- 
ning to get used to it. No, it’s something else. 


- Miz. Marcnanp 
Perhaps your father’s beginning to notice that 


Irene leads a rather—rather odd life for a young 


unmarried girl. 


GISELE 
Oh, hullo! Back to the old subject! It’s a long 
time since you’ve complained about Irene’s be- 
havior. 


Mure. Marcuanp 
I’m not—complaining, my dear. In the first place 
it’s not my concern . . . no longer my concern, at 
any rate, thank heaven. If I were still responsible 
for her bringing up I might complain—and for good 
reason. But fortunately I’m not. 


GISELE 
Oh, come on,—surely you don’t expect that at 
twenty-five Irene should lead the same existence I 
do at seventeen? 


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THE CAPTIVE 11 


Murr. Marcuanp 
Why not? The elder Robien girl is twenty-four 
and her sister eighteen. Yet they lead precisely the 
same lives; they go about only with their mother 
or their companion. 


GISELE 
I hope you’re not trying to compare that pill 
Valentine Robien with Irene! 


Mure. Marcnanp 
They’re girls of the same age and same class as 
you. 


GISELE 
You know perfectly well that Irene isn’t anything 
like them! 


Mure. MarcHanp 
And why not, pray? 


GISELE 
Do you know many girls as brilliant—as cul- 
tured—as attractive as Irene? 


Murer. MarcHanp 
What of it? 


12 THE CAPTIVE 


GISELE 
Well, certainly you can’t expect a girl like that to 
spend her life in a nursery—with a kid sister and 
a wet nurse! She’d be bored to death! © 


Miuue. Marcuanp 
I don’t know whether she’d be bored to death as 
you so tactfully put it . . . but I do know it would 
be far better for her reputation than spending every 
minute away from home and alone . . . without 
ever telling any one where she goes. 


GISELE 
What do you mean, “where she goes”? She goes 
to the studio, to her teacher. She works at her 
painting. 


Murr. MarcHanp 
Very well. 


GISELE 
You don’t believe that? 


Murr. Marcwanp 
Yes, I believe it, my dear. I’m sure of it, but 
nevertheless it’s no life for a girl of good family. 
You can’t change my mind as to that. It’s not the 


way to find a good husband. 





; 
: 
; 


THE CAPTIVE 13 


GISELE 
When it comes to that you needn’t worry about 
Irene. The day she wants to— 


Murr. Marcuanp 
The day she wants to may be too late. However, 
it’s not my affair. It’s your father’s. 


GISELE 
Oh, as for papa’s bothering! . . . [Pause.] Nat- 
urally, he’d prefer to see us both married so as to 
be rid of us,—and then he could take all his meals 
at Madame de Vallon’s. He’d love that! 


Murr. Marcuanp 
Gisele! You will kindly not speak in that way 
of your father! 


GISELE 
What have I said? It’s entirely within papa’s 
rights to prefer Madame de Vallon’s cook to ours. 
It seems that she has a superb cook! I really can’t 
conceive how papa will do without that cook in 
Rome! . . . Perhaps he’ll take her there—as he did 
to Brussels. Do you think he will? 


Murr. MarcHanp 
Gisele ! 


14 THE CAPTIVE 


GISELE 
The cook, I mean! 


Murr. Marcuanp 
Gisele, will you be still! The subject is not a 
proper one! 


GISELE 
All right! Don’t be cross. I'll be still. [She 
kisses Mtitx. Marcuanpn, laughingly.| Poor made- 
moiselle! [The door at the back opens and Ipene 
enters. She is smartly dressed and wears a bunch of 
violets. GISELE goes toward her gayly|: Ah, there 
you are! 


IRENE 
[Somewhat seriously; with the air of one who has 
something on her mind]: What are you doing in 
here, you two? 


GISELE 
Waiting for you. Know what time it is? 


IRENE 
Yes, I’m late. I couldn’t find a taxi. 


GISELE 
Tell me,—what dress are you going to wear to- 
night? 





THE CAPTIVE 15 


IRENE 


What dress? 


Murr. Marcuanp 
Gisele, don’t forget your father’s message to 
Irene. 


GISELE. 
Oh, yes; papa said that you were to notify him the 
minute you got in. 


IRENE 


Oh. 


GISELE 
He said to let him know even if there were people 
in with him. . 


IRENE 
[As though to herself|: Very well. 


GISELE 
Shall I tell him? 


IRENE 
Yes—if you don’t mind. 


Mure. Marcuanp 
[T'o GiseLe]: Well, I’ll say good night, my dear. 
It’s after six. I must go home. 


16 THE CAPTIVE 


GISELE 
Do wait a moment. I’ll be right back. [She runs 
out at back.] 
[IrENE in a thoughtful mood removes her hat and 
cloak and puts them on a chair. | 


Mure. Marcuanp 
Well, Irene, how are you getting on with your 
painting? Are you satisfied? 


IRENE 
[Inattentive]: What? ... Oh, yes, thank you, 
mademoiselle. 


Mure. MarcHanp 
Are you making headway? 


IRENE 
Slowly, yes. 


Mut. Marcnanp 
It still interests you very much, does it? 


IRENE 
Oh, yes, it still does. [She puts her violets on the 
table. There is an awkward moment of silence. — 
GISELE returns. | 


GISELE 
Papa says he’ll come in here. 


THE CAPTIVE 17 


IRENE 
Very well. 


Mure. MarcnHanp 
Good night, Irene. 


IRENE 


Good night, mademoiselle. [They shake hands.] 


Murr. Marcnanp 
[To GisELE, kissing her]: 'Till to-morrow, dear. 


GISELE 
[Seeing her to the door]: I’ve an Italian lesson. 
at two. So will you come at about three? 


Mure. Marcwanp 
At about three. ... 


GISELE 
We can take a walk through the park if it’s 
MWiees s. | 
[They go out. GiseLE returns almost at once. To 
IrENE]: You haven’t told me what dress you’re 
going to wear? 


IRENE 
I don’t know, dear. Whichever you prefer; it 
doesn’t matter to me. 


18 THE CAPTIVE 


GISELE 
Then wear your white, do you mind? I'll wear 
my blue,—you know, the new one, to try it out. 


IRENE 
Allright. Tell me, dear, do you know why father 
wants to see me? 


: GISELE 
No. I asked him if it were something about the 
dinner, but he said no. That’s all I can tell you. 


IRENE 
What mood is he in? 


GISELE 
A little stern. But that means nothing . . . he’s 
so often that way. | 
[Montcet appears at the back.] 


Montceu 
Gisele, would you mind leaving us, child. I wish 
to speak with Irene. 


GISELE 
Yes, papa. 
[She goes into her room and closes the door.] 


THE CAPTIVE 19 


Montce. 

[ After a pause |: I might begin, my dear, by say- 
ing that what we have to discuss is extremely serious. 
My attitude toward you from now on must depend 
upon it. Before making any decision I wanted to 
give you ample time to think things over. Have you 
done so? 


IRENE 


Yes, father. 


Montcen 
Well? Then tell me what conclusion you’ve 
reached. 


IRENE 
I have not changed my mind, father. 


MontTceL 


Which means? 


IRENE 
That I still ask you to let me stay here when you 
leave for Rome. 


Montcen 
So! This past week has gone for nothing. You 
persist in asking me something which you know per- 
fectly well is impossible. 


20 THE CAPTIVE 


IRENE 
I persist in asking it. But I cannot see that it’s 
impossible. 


Montcei 
Very well. You also persist in withholding the 
reason for your extraordinary request. 


IRENE 
I’ve already given it to you, father. 


Montce. 
You’ve told me you wished to remain in Paris be- 
cause of your work, your painting. That’s it, isn’t 
it? 


IRENE 
Exactly. 


Montce. 
Irene,—consider well, my child, what I’m asking 
you. Will you or will you not give me the true 
reason? 


IRENE 
There is no other. 


MontTce. 
[Irritated]: Come, come, this is childish! If it 
were a question of your going to live on a desert 





THE CAPTIVE 21 


island your excuse might take on the semblance of 
truth. But it’s a question of your living in Rome, 
in the heart of Italy, the very cradle of art. Why, 
only last year you didn’t stop begging me to let you 
go there,—and once you’d gone I had the devil’s 
own time getting you to come back! [Pause.] Of 
course, it’s true that it was there that you made the 
acquaintance of those people—those d’Aiguines— 
who since then seem to have become the very center 
of your existence. 


IRENE 
What have Monsieur. and Madame d’Aiguines to 
do with this? 


MontceEL 
Perhaps it’s I who might ask you that. But Ill 
limit myself to saying that I deplore your constant 
association with them. 


IRENE 


Why? 


Montcen 
It is not a fit one for you. 


IRENE 
But what have you against them? 


22 THE CAPTIVE 


Montceu 
Many things. To begin with, it’s not to his credit 
that he had to leave the diplomatic service at the 
time of his marriage. | 


IRENE 
Because he married a foreigner. 


Montcen 
An Austrian, I know. 


IRENE 


Well, then. ... 


MontTceL 
If you don’t mind, let’s put aside the subject of 
the d’Aiguines. Let’s get back to Rome, where as 
I was saying, you’ll be in an excellent position to 
keep on with your painting. 


IRENE 
When one starts with a certain teacher it’s not 
wise to change. Mine is not in Rome, he is here. 


Montcen 
Do you work a great deal with your teacher? 


IRENE 
Of course. 





THE CAPTIVE 23 


Montce. 
Every day, I suppose? 


IRENE 
Practically, yes. 
Montcreu 
That’s not true. 
IRENE 
What? 
Montcen 


I’ve been to see your teacher. 


IRENE 
You’ve been to see him? 


MontTcEL 
To-day. I wanted to satisfy myself. I went to 
ask him if he were pleased with his pupil. I left 
his studio fully aware of the real place that painting 
occupies in your life. 


IRENE 
What did he tell you? 


| Montce. 
That he had not seen you at his studio for a 
month! 


24 THE CAPTIVE 


IRENE 
[Faltermg]: I’ve been making a copy at the 
Louvre. 


MontTceL | 
Really! Well, in that case, my child, you have 
cause to be very pleased, for in Rome you’ll find 
galleries where you’ll be able to copy some of the 
most beautiful pictures in the world. 


IRENE 
Why are you so insistent that I come with you? 


MontTceL 
Because the place of a young unmarried woman 
is with her family and because until you are married 
your family is your father . . . even if at times you 
appear to forget it. 


IRENE 
If I forget it, father, perhaps it’s because you 
don’t always remember it yourself. 


MontTceL 
What do you mean by that? 


IRENE 
Oh, nothing. .. . 





THE CAPTIVE 25 


Montceu 
Excuse me. .. . I insist that you explain your 
remark. 


IRENE 
If a daughter’s place is with her father why did 
you never think of having us join you while you 
were in Brussels? 


Montcen 
I’ve already told you it was because of my quar- 
ters there. 


IRENE 
Only because of that, I suppose? 


Montcer 

[With growing temper]: Which of us two owes 
explanations to the other? You or I? Let that be 
enough. You are free to think of me what you wish; 
it makes no difference. But I am your father and I 
intend to exact obedience from you. ([Forcibly.] 
I had thought until now that you were a serious- 
minded girl, well able to conduct herself properly 
. . - I have treated you accordingly. I was mis- 
taken. I shall treat you in the future as you de- 
serve. I shall leave for Rome as soon as my successor 
arrives here, which will be early next month. You 
and your sister will leave with me. 


26 THE CAPTIVE 


IRENE 
[Softly]: No, father. 


MontTcen 
What do you say? 


IRENE 
I shall not leave. I have already told you so. 


Montcet 
[Thoroughly angered]: You shall leave! You'll 
go or be forced to go! 


IRENE 
[Wilfully]: As to that! ... 


Montcen 
Take care, Irene. You should know me well 
enough to realize that when I’ve made up my mind 
to something it’s dangerous to oppose me. I’ve 
broken stronger wills than yours in my career. 


IRENE | 
And you should know me, father. I’m your 
daughter, and in that respect we are alike. 


MonrTce. 
Enough! J’ll not tolerate your threats! 





THE CAPTIVE 27 


IRENE 
[Controls herself]: They are not threats. But 
I’m twenty-five. I’m no longer a child and you must 
realize that I wouldn’t have come to you the other 
day as I did if I had not also made up my mind. 


Montcen 
Made up your mind to what—remain in Paris? 


IRENE 


Yes. 


MontTceL 
Where do you intend to live? 


IRENE 


Why—here. 


Montce. 

Oh, no, not here. I’m very sorry, but I’ve de- 
cided to sublet the apartment. It costs a great 
deal, and I’ll have no reason for holding on to it 
after leaving Paris. 


IRENE 


Oh. 


Montceu 
That being the case, may I ask where you expect 
to go? 


28 THE CAPTIVE 


IRENE 
Well . . . to an hotel, I suppose. 


. Montcei 
And how will you support yourself? With what 
money? Not with mine. You’ll not have a penny 
from me. | 


IRENE 
But, father. ... 


Montcen 
Not a penny, let that be clear! As long as I live! 
. and I might inform you—at the risk of disap- 
pointing you—that the present state of my health 
gives no cause for alarm. [Pause.] That offers a 
new side to the question, eh? 


IRENE 
If you think you can force your will on me in 
any such way as that— 


Montcen 
If that way fails, there are others. 


IRENE 
What others? 





THE CAPTIVE 29 


MontTceL 

I'll tell you. Not only you'll never have a penny 
of mine but so far as I’m concerned you'll no longer 
exist. I shall never see you again. I realize that’s 
probably the least of your worries. Your affection 
for me will readily bear that separation. But what 
may cause you more concern is to learn that I shall 
never again let you see your sister. 


IRENE 
[ Dismayed]: Oh! 
MontTcen 
Never! 
IRENE 
You’d do that? 
Monrcen 
Most assuredly. 
IRENE 
It’s wicked of you! 
Montce.i 


Wicked or not, my plain duty is to guard her 
against you. I shall do so, believe me. 


IRENE 
Guard her against me! Do you know what you’re 


30 THE CAPTIVE 


saying, father? What would become of the poor 
child without me. Who'd take care of her? I’m 
all she has in the world. 


MonTcen 
Really! I don’t count, I suppose! 


IRENE 
You-—oh, but father .. . 


Montcen 
I what? Come, come, finish your thought. She 
doesn’t love me, is that it? She doesn’t love me any 
more than you do! 


IRENE 

[Quietly]: And you, father . ..do you love 
us? Have you ever given us a moment’s concern, 
a moment’s bother? I may as well say it, since 
we’re on the subject. What has our childhood been? 
Not a happy one, father. Always alone with serv- 
ants. If Gisele hadn’t had me and I her, there’d 
have been little enough affection in our lives since 
mother’s death. 


MontTcen 
You’re beginning that over again, eh? 





THE CAPTIVE 31 


IRENE 
No, father. . . . It’s finished. . . . You’ve done 
what you wanted to. It isn’t for us to attempt to 
judge you. But, if after having accustomed us to 
be everything to each other for fifteen years, you 
think to separate us, you’re mistaken, that’s all. 


Montcen 
If that’s the case, tell me,—since you believe your- 
self so necessary to your sister—how can you con- 
sider remaining here while she’s in Rome? Eh,— 
tell me that? 


IRENE 
Why shouldn’t she also stay here? 


MontTceL 
With you? In your care? Are you quite mad? 
You don’t really believe that I could trust that child 
to you. To you! That’s superb! 


IRENE 
What do you mean? 


Montcen 
I mean that your sister is a sweet, innocent girl. 
I propose that she shall remain so! Now you have 
it! 


32 THE CAPTIVE 


IRENE 
Oh! Father! ... 


MonrTce. 
I’m sorry, but I must say what I think,—what 
your behavior compels me to think. If I’m wrong 
you have only to justify yourself. 


IRENE 
There is no need for me to justify myself. 


Montcet 
God in heaven! If the reason you had for wishing 
to remain here were the kind that a daughter might 
tell her father, you’d have Jet me hear it long ago. 


IRENE 
I have told you it was my painting. 


Montcen 

[ Gazing steadily at her |: 1 had thought you more 
intelligent than this. As things stand now Id tell 
the truth if I were you. It would be better. 
[IrENE is silent. | 

You don’t want to? Don’t you see that your 
silence is the most damning evidence against you? 
Do you think that with what I already take for 
granted and what I may guess it will still be diffi- 
cult for me to find out the rest? 





THE CAPTIVE «83 


IRENE 
What do you take for granted? 


MonrTcen 
You’d like to know? 


IRENE 


Yes. 


Montcei 
I take for granted that since you don’t wish to 
come to Rome there is some one who holds you here. 


That’s what I think! Am I not right? ... An- 
swer me! 
[ She is silent. ] 

Listen, Irene. ... I’m determined to throw 


full light on this matter, do you understand? By 
keeping up this silence you will simply force me to 
take unpleasant steps which you can still prevent. 


IRENE 
What steps? 


Montcet 
Never mind! But I promise you I'll get at the 
truth. Ill insist upon it in a place where I know 
I can find it and where there’ll be no evading it. 


IRENE 


Where? 


34 THE CAPTIVE 


Montcer 
From those whom I must suppose are acquainted 
with the intimate facts of your life. Your devoted 
friends the d’Aiguines. 


IRENE 


[Thunderstruck] : That’s mad, father! 


Monrcen 


I think not. 


IRENE 
But—whatever gave you the idea—of asking the 
d’Aiguines about such a thing? 


Montcen 
The idea occurred to me after certain things I’ve 
observed. 


IRENE 
What have you observed? 


Montcen 
I must be allowed to keep that to myself for the 
present. 


Irene! Foie 
But at least I have the right to know?P— 


MontceL 
No, you have not! [Pauwse.] You seem curi- 
ously disturbed that I should take this step. 








THE CAPTIVE 35 


IRENE 
I,—not at all! It’s a matter of complete indiffer- 
ence to me. 


Montcent 
Really? Why, then, were you so agitated by my 
mention of the name d’Aiguines? 


IRENE 
[Disturbed]: I wasn’t agitated 


MonrTce. 
You were! Besides, it’s very simple. [Looks at 
his watch.] We'll settle this right away. 


IRENE 
What are you going to do? 


Montce. 
Ask Monsieur d’Aiguines to come here and have a 
talk with me immediately. 


IRENE 
You won’t do that, father! 


Montrcen 
You’ll see. 


IRENE 
Even if I tell you that it would be quite useless, 
that you will learn nothing? 


36 THE CAPTIVE 


MontTcei 
Ah! So you’re already beginning to admit things! 
Listen,—listen to me—if within two minutes you 
have not spoken the name I wish to hear, I shall 
ask d’Aiguines for it whether you wish me to or not! 


IRENE 
Father, I beg you not to do this! 


Montcen 
Then tell me. On whose account de you wish to 
remain in Paris? Will you tell me,—yes or no? 


IRENE 
[In despair]: But, father— - 


Montceti 
[ After a moment]: All right, I’m through! [He 
reaches the door, back. | 


IRENE 
[Imploringly]: Father! No, father! 


MontTceEL 


[At door]: Well? 


IRENE 
It’s on account—of—J acques. 








Photograph by Florence Vandainm 


Monrcet: Listen,—Listen to me—if within 
two minutes you have not spoken the name [| 
wish to hear, I shall ask d’Aiguines for it— 
whether you wish me to or not! 

(HELEN MENKEN and NORMAN TREVOR) 








THE CAPTIVE 37 


MontTceL 
[Surprised]: Jacques? Jacques who? Jacques 
Virieu? 


IRENE 
Yes. 


Montce. 
[ Still surprised]: It’s on account of Jacques that 
you want to remain in Paris? 


IRENE 
[ Nervously |: Well,—yes. 


Montcen 
Upon my soul! [Pause.] What’s going on be- 
tween you two? 


IRENE 
Nothing. 


: Montcet 
What do you mean, nothing? 


IRENE 
Nothing serious, I assure you. 


Montcet 
Would you mind not juggling words with me. I 
warn you that all you say will be verified. 


38 THE CAPTIVE 


IRENE 
Of course, father. 


Montcri 
So I advise you not to try to hide anything from 
me. Now, answer my question. What is going on 
between you? 


IRENE 
[With difficulty]: We’ve been fond of each other 
for some time and we had thought,—at least, J had 
thought that I might marry him,—that’s all. 


Montcre. 
You’re telling me everything? 


IRENE 


Yes. 


Montcren 
So you and Jacques want to get married? 


IRENE © 
I said that I wanted to,—that is, I’d like to. 


Montcen 
And he? 
IRENE 
I don’t know. 


THE CAPTIVE 39 


Montcen 
Do you mean to say he hasn’t spoken of his inten- 
tions? 


IRENE 
No. 


Montce 
Then how do things stand? 


IRENE 
He hasn’t spoken yet. 


Montce 
And you imagine that he’s getting ready to? Eh? 
Speak! Explain yourself ... don’t make me 


force every word out of you! 


IRENE 
I’m not certain of anything. 


Montce. 
Then, as I understand it, you love him . . . if he 
were to propose you’d be inclined to say yes. Is 
that it? 


IRENE 
[After a pause]: Yes. 


40 THE CAPTIVE 


MontTcEL 
And it’s with this hope in mind that you’d prefer 
remaining in Paris? 


IRENE 


Yes. 


Monrcer 
Well, for heaven’s sake, my dear, why haven’t you 
simply said so instead of keeping up this air of 
mystery? 


IRENE 
It wasn’t my secret alone. 


MontTceEL 

Why, it isn’t betraying a secret of that kind to 
tell it to one’s father. Besides you must have known 
perfectly well that there’s nothing about your idea 
that displeases me. Jacques’s a distant relative of 
ours on his mother’s side. . . . You’ve known each 
other since you were children . . . he goes with the 
same sort of people we do. He’s a fine boy, and I’m 
very fond of him. To make things complete his 
electrical concession in Morocco assures him a good 
income. 'There’s no possible reason for my opposing 
your wish. 


IRENE 
I didn’t want to tell you about something which 
may exist only in my imagination. 


THE CAPTIVE 41 


MontTcen 


Why not? Where’s the harm? 


IRENE 
Well, it’s not exactly pleasant having to confess 
oneself mistaken about a thing like that. You 
must understand. 


Monrcer 

We must learn to pocket our pride at times. In- 
stead of being afraid of me you should have looked 
upon me as your natural guide and adviser. I 
realize that you can’t ask the young man to reveal 
. the state of his feelings; that wouldn’t be quite the 
thing. But J can do it easily, without your pride 

being hurt in any way. 


IRENE 
But father, that’s impossible! .. . 


Monrtcen 
It’s so far from being impossible, my dear, that 
Ill prove it by taking the matter up with Jacques 
to-morrow. 


IRENE 
You don’t really mean to! 


Monrcen 
Don’t worry. ... I'll leave you out of it. ll 
not even refer to our conversation,— 


AQ THE CAPTIVE 


IRENE 
But, fathers." < 
Montcen 
[Going on]: ... Vl merely tell him that for 


some time past a number of things have led me to 
believe that you were developing a deep affection 
for some one. That I have watched you closely and 
come to understand, without your saying a word, 
that your feelings concerned him. I'll then say that, , 
as I’m about to leave Paris to be gone for some time, 
I'd like to know if he has anything to say to me. 
Just that. 


IRENE 
Father, I beg you to do nothing of the sort. . . ! 


MontTcreu 
I’m sorry to oppose your wishes, my dear, but 
under the circumstances I’m a better judge of what 
should be done than you. Some day you'll thank 
me for it. 


IRENE 
I don’t want you to do it! 


MontTcen 
Do you prefer going to Rome without knowing 
what he—? 


THE CAPTIVE 43 


IRENE 
I prefer to wait, without rushing matters. 


Montce. 
Wait for what? For him to make up his mind? 
Don’t forget that I’m leaving in three weeks’ time. 


IRENE 
Well, naturally, we can’t expect things to develop 
much in three weeks. 


MontTcen 


Well, then? 


IRENE 
That’s exactly why I want to stay behind. 


Montcen 
Under no conditions! Unless, of course, he has 
proposed formally, and even then . . . we'll see. 
IRENE 


But you’ve just said you had faith in him. 


Montce. 
No. Don’t insist. It’s quite useless. I shall 
speak to him, just as I’ve outlined and— 


AA THE CAPTIVE 


IRENE 
Father, please! 


MontTcEL 
Don’t be afraid. I'll talk with him as man to man 
in the friendliest possible way. Whatever his senti- 
ments may be he won’t be able to take any exception 
to what is said. 


IRENE 
For the last time, father, I beg you not to do this! 


Montcren 
That’s enough, my child. My mind is made up 
and I shan’t change it. Let’s leave it at that for 
this evening if you don’t mind. It’s already half 
past six and I must run around to the Foreign Of- 
fice before dinner. [He goes toward the door, back. | 

By the bye, will you put Dardennes at your right 

and Couvreur at your left. Dinner’s at eight-fif- 

teen. [He goes out.] 

[InENE seems tremendously disturbed as soon as she 
is alone. She drops into a chair, musing; 
then suddenly rising, goes to her table and lifts 
the telephone receiver. | 


IRENE 
[Into the telephone]: Elysées 24-51 . . . Please. 
Hullo? . . . Elysées 24-51? . . . May I speak to 


THE CAPTIVE 45 


Monsieur Jacques Virieu? Oh, it’s you, Jacques? I 
didn’t recognize your voice. . . . You knew mine? 
. Pm glad. Listen, Jacques, is there any way of 
my seeing you? ... Yes—if you wish. ... But 
wouldn’t it be possible right away? . . . Could you 
come here? . . . Thanks so much. I'll expect you. 
... What? ... Oh, I'll tell you, I can’t over the 
telephone. .. . . Good-by! 
[She replaces the receiver, and for a moment remains 
pensively where she is. GIsELE enters at right. ] 


GISELE 
May I come in? 


IRENE 
Certainly, dear. Dressed so soon? 


GISELE 
But it’s fairly late. And we haven’t fixed the 
flowers yet. 


IRENE 
Oh! please do it without me. I simply won’t have 
the time. [IRENE goes to dressing room. | 


| GISELE 
All right. They'll be too awful, but what’s the 
difference? 


46 THE CAPTIVE 


IRENE 
[From dressing room]: Of course they won’t. 
Don’t be silly! . . . Ring for Josephine, dear, do 
you mind? I must dress. 


GISELE 
[Rings bell.] Irene? 


IRENE 
What, darling? 


J OSEPHINE 
[Entering at the back, to GisrtE]: Did you ring, © 
mademoiselle? 


| GISELE 
No,—Irene. 


IRENE | 
[Stil off.] My crépe de chine gown, Josephine. 
. I’m going to dress right away. 


GISELE 
But you said you’d wear the white dress! 


IRENE 
So I did. My white dress, Josephine. 


JOSEPHINE 
Very good, mademoiselle. [JosEPHINE goes to 
dressing room. | 


THE CAPTIVE AT 


GISELE 
Trene! 


IRENE 
You wanted to ask me something? 


GISELE 
[Going to door of dressing room and speaking off 
to IrEnr.] Oh, yes. I overheard something that 
papa said while I was in my room. Just a few 
words, but I’m dying to know what they meant. 


IRENE 
You heard something father said? 


GISELE 
Yes—not deliberately—I really wasn’t listening 
at the keyhole. But for a moment papa spoke so 
loudly that I couldn’t help hearing. 


IRENE 


What did you hear? 


GISELE 
He said, “You'll go or be forced to go!” Surely 
it wasn’t Rome he was speaking about? 


IRENE 


Yes. 


48 THE CAPTIVE 


GISELE 
What? ... You’re not coming to Rome!... 
Oh, Irene, you can’t mean that! 


IRENE 
I’m not sure yet, dear. Don’t bother your head 
about it. 


GISELE 
[Leaving the door, almost in tears]: You’re not 
going to let me go there alone with papa? 


IRENE 
[Enters in negligée|:I may haveto. . .. | Takes 
GiIsELE’s hand. | 


GISELE 
[ Heartbroken]: Oh! 


IRENE 
But you'll have a marvelous time in Rome... . 
You’ve no idea how beautiful it is. You'll meet some 
delightful people . . . they'll give you any number 
of parties. Just think, dear, you’ll be the only 
woman in the embassy. . . . You’ll have the time of 
your life! ; 


GISELE 
Without you? 


THE CAPTIVE 49 


IRENE 
[ Tenderly|: Yes, dearest, even without me. 


GISELE 
How can I—if you’re not there? 


IRENE 


[Holding her close|: My dear! 


GISELE 
Oh, well, if you’re going to desert me, then what 
will— 


IRENE 
Would you rather stay here with me? 


GISELE 
Oh, yes—much! 


IRENE 
But wouldn’t you be sorry not to go to Rome? 


GISELE 
I'd like to have gone if you had gone. But with- 
out you—no—I’d much prefer to remain here. 


IRENE 
Are you sure? 


50 THE CAPTIVE 


GISELE 
Sure. 


IRENE 
Well, would you like me to persuade father to 
leave you here too? It won’t be easy, but if it’s 
worked well he might consent. 


GISELE 
Yes, please do. 


IRENE 
All right, let me try! But you won’t say a word 
to any one, not even to Mademoiselle Marchand, 
will you? 


GISELE 
Not a word! 


JOSEPHINE 
[Entering left.] Mademoiselle? 


IRENE 
Yes, yes.—I’m coming. [She goes again into the 
dressing room. JOSEPHINE follows her off.] 


GISELE 
Oh, Irene! You didn’t say a thing about my new 
frock! | 


THE CAPTIVE 51 


IRENE 
[Off]: Oh! I’m so sorry! [Gisere approaches 
the half-open door.| I think it’s a dream, dear. 


GISELE 
Don’t you think the skirt rather long? 


IRENE 
[Stil off]: No. . . . I think it’s all right that 
way. 
GISELE 


[Raising her skirt a bit]: Now—isn’t that much 
better? Look? 


IRENE 
M-m-m—perhaps. But it was really all right 
before. 


GISELE 
Oh! You make me sick! Can’t you give a poor 
woman a little friendly advice? 


IRENE 
Well . . . no, it is a little too short for you. It 
doesn’t look quite modest. 


| GISELE 
Really? But I raised it barely two inches. .. . 


52 THE CAPTIVE 


IRENE 
You’ve got plenty of time ahead in which to show 
your legs— | 


GISELE 
Oh, you think so? And what if they begin wear- 
ing long skirts again next season, then where am I? 


Irene 
There’s something in that! 


GISELE 
Well, suppose I raise it one inch. . . . Are you 
still horrified? 


IRENE 
No, go ahead. . . . Shorten it one inch! 


GISELE 
[To JosEPHINE who crosses from the dressing 
room toward the right.| You heard, Josephine. 
One inch. 


J OSEPHINE 
Yes, mademoiselle. 


GISELE 
Pll pin it up for you in the morning. It can 
stay like this for to-night. [Josepuine takes 
IrENE’s coat and hat from chair.] Who cares about 
to-night, anyhow?—Whiskers! 


THE CAPTIVE 53 
IRENE 


[Comimg in now fully gowned]: Josephine! 


J OSEPHINE 
Yes, mademoiselle? 


IRENE 
Monsieur Jacques Virieu will be calling to see me. 
As soon as he arrives, show him in here . . . do you 
understand? 
JOSEPHINE 


Yes, mademoiselle. [Ewzits at back with coat and 
hat. GuisELE has taken from the table the bunch of 
wolets which IRENE brought in with her and is ab- 
sent-mindedly inhaling their odor.] 


GISELE 

[Pleased; turns to IrENE]: Jacques coming? 
[IrENE sees the violets im GisELE’s hand, a faint 
movement reveals some indefinable emotion as she 
takes them from her. She exits mto the dressing 
room returning with the flowers in a vase which she 
places on the table. GiseLEe watches her, a bit sur- 
prised.] I say, Irene—? 


IRENE 
What? 


54 THE CAPTIVE 


GISELE 
Is Jacques coming? 


IRENE 
Yes. . . . I’m expecting him. 


GISELE 
What fun! . . . Dear old thing! I will be glad 
to see him! But he isn’t coming for dinner, is he? 


IRENE 
No. I asked him to come to see me for a minute 
because. . . . I’ve something to tell him... . In- 
cidentally, Gisele, be an angel and leave me alone 
with him after you’ve said hullo. 


GISELE 
Righto! 


IRENE 
Thank you, darling. . . . You’re really a dear! 
You never ask questions . . . and you never ask 
me to explain a thing! 


GISELE 
Oh, I just try not to meddle in what isn’t my 
business, that’s all. 


THE CAPTIVE 55 


IRENE 
Yes, but they’re scarce, people who can do that! 
[JosEPHINE opens the door at back and admits 
JacauEs. He is about thirty-four and good look- 
ing.] Hullo, Jacques! [Gives him her hand.] 


J ACQUES 
How are you, Irene? [To Gisrte]: Well, baby 
sister ! 
GISELE 
Hullo, Jacques! 


J ACQUES 
Lord, what a beauty! I’m bowled over... 
and to think that I once bounced this on my knee! 
I wouldn’t dare try it now! 


GISELE 
Well, I should hope not! [The girls laugh.] 


JACQUES 
[Noticing their costumes, to IrEnNE]: But, see 
here, you didn’t tell me this was a state occasion! 


| IRENE 
State occasion? 
JACQUES 
Your gowns... ! 


56 THE CAPTIVE 


IRENE 
‘Don’t be startled! Father’s having some guests 
to dinner this evening. 


J ACQUES 
Oh, I see. [Pause.] Well, what’s gomg on? 


GISELE 
Before you start in, say good-by to me. 


JACQUES 
Are you leaving us? 


GISELE 
I must. 


JACQUES 
Farewell, beauteous one! 


GISELE 
When are you having that tea party for Irene 
and me? 


JACQUES 
You’ve only to name your day! 


GISELE 
The last time I saw you you promised us a 
sumpt’ous tea with caviar sandwiches. But that’s 
as far as it ever got. 


THE CAPTIVE 57 


J ACQUES 
We'll arrange it, I promise! 


GISELE 
I’m counting on you, don’t forget! I just love 
caviar! [She goes out at back.] 


J) ACQUES 


Well? 


IRENE 
Thanks for having come, Jacques. 


J ACQUES 
Please.... [He sits.] I’m very curious. 
What’s happened? 
IRENE 


First I want you to swear that you’ll never re- 
peat a word of what we’re going to say to a living 
SCA ae 


JJ) ACQUES 
Is it as serious as that? 


IRENE 
Yes. . . . You’ll swear it, won’t you, Jacques? 


J ACQUES 
Why, certainly. 


58 THE CAPTIVE 


IRENE 
You’ve heard that father has just been phe ios 
to the post in Rome? 


J ACQUES 
Yes. 


IRENE 
He’s decided that Gisele and I are to go there 
with him. 


J ACQUES 
Naturally. 


IRENE 
It’s not so natural. Until now whenever he oc- 
cupied a foreign post he’s left us here. Why does 
he want to take us to Rome this time? . . . I can’t 
help thinking he’s been advised to do it. 


J ACQUES 
By whom? 


IRENE 
The Foreign Office probably. It seems they’re 
rather strict in Rome. Perhaps they felt at the 
Foreign Office that it would look well for him to 
have his daughters with him . . . and that it would 


THE CAPTIVE 59 


prevent his taking Madame de Vallon as he always 
has before. I don’t think that was liked any too well 
in Brussels. 


J ACQUES 
Really? 


IRENE 
I can’t be certain that’s the reason, but it seems 
likely. Besides, it doesn’t matter. The main point 
now is that he’s decided we’re to go with him. 
[Pawse.] Only I have decided to remain in Paris. 


J ACQUES 
Why? 


IRENE 
[After a moment.]|: . . . I told him it was be- 
cause of my painting,—so that I might continue to 
work here with my teacher. . . 


JACQUES 
Wasn’t that true? 


IRENE 
No. Besides, to-day, father saw my teacher, who 
told him I hadn’t been at the studio for a month. 


e) ACQUES 
I see. 


60 THE CAPTIVE 


IRENE 
He realized I had another reason for staying. 
We had a very trying scene just now; he wound up 
by saying that he was sure my desire not to go was 
due to some one who held me in Paris. -He insisted 
on knowing who it was. 


JACQUES 
And then? 


IRENE 
He tormented me with questions which I couldn’t 
answer, threatened to take steps which I couldn’t let 
him take. I was nearly crazy, and then a name 
came to my lips almost despite myself . . . the name 
of the only friend I knew I could count on, the only 
being I could confide in . . . yours. 


J ACQUES 
Mine? 


IRENE 
Yes. 


JACQUES 
You gave him my name? 


IRENE 


Yes. 


THE CAPTIVE 61 


JACQUES 
Then . . . your father believes it’s on my account 
that you wish to remain in Paris? 


IRENE 


Yes. 


J ACQUES 
[After a moment]: Do you realize, Irene, what 
you’ve done? 


TRENE 


Yes. 


J ACQUES 
What can your father think? 


IRENE 
[Not looking at him]: Nothing. I told him that 
by leaving me in Paris—that is, by not taking me 
away from where you were—a plan which so far I 
was alone in forming might become a reality. .. . 


JACQUES 
What plan? 
IRENE 


That of ... our getting married. 


J ACQUES 
You led him to believe that? 


62 THE CAPTIVE 


IRENE 
Yes. 
JACQUES. 
No! 
IRENE 
Yes, I know. ...I know everything you’re 
thinking. 
JACQUES 


Wouldn’t it have been better to tell him—the 
truth? 


IRENE 
[ Sharply, looking at him]: What truth? 


J ACQUES 
I don’t know. But whatever it may be it’s cer- 
tainly better than this—this lie. 


IRENE 
[ Hopeless. Staring ahead|: If I had told the 


truth, no one would have understood it. 


J ACQUES 


Why? [She is silent.] Tell me! 


IRENE 
It doesn’t matter. ... 


THE CAPTIVE 63 


JACQUES 
Can’t you at least tell me? 


IRENE 


No. 


J ACQUES 
Ah? [Pause.] Well, I confess it’s pretty hard 
for me to understand how you could have disposed 
of me like this in such a serious situation—without 
even consulting me! 


IRENE 
Did I have time to consult you? I was frantic. 
Every argument I used was turned against me. .. . 
I saw only one thing—that father had to be reas- 
sured about me at any cost . . . so that he’d look 
no further. That was my one anxiety. 


, J ACQUES 
Were you so certain that my name would be 
enough to reassure him? 


IRENE 


Yes. 


JACQUES 
You might have realized, Irene, that you should 
have used some other name ... any other name. 
[He rises impatiently. | 


64 THE CAPTIVE 


IRENE 
What choice had I? Do you think I have a 
single friend besides yourself of whom I could ask 
such a thing? 


J ACQUES 
Didn’t it occur to you that perhaps I was the 
last one of whom you could ask such a thing? 


IRENE 
I thought you were fond of me. 


JACQUES 
You didn’t remember that I had also loved 
you? 


IRENE 
Oh, Jacques . . . that’s all in the past. 


JACQUES 
Are you so sure? [Pauwse.] Certainly it’s not so 
far in the past that you’ve already forgotten it? 
Is it? | 


IRENE 
I didn’t think about it. 


JACQUES 
You should have understood that a girl doesn’t 
ask a man to take part in a pretended engagement 





THE CAPTIVE 65, 


when he had hoped for the real thing . . . a man, 
who hardly a year ago had every reason to believe 
that his hope would be realized! 


IRENE 
Please, Jacques! Don’t remind me of that! I’ve 
regretted it so much, believe me! I don’t know what 
could have let you suppose that I’d ever had the 
idea of— 


J ACQUES 
Of becoming my wife? Then why didn’t you stop 
me right away the first time I told you that I loved 
you and that I wanted to marry you? ... 


IRENE 
But. . . . I didn’t think you were really serious 
about it, ... . 


JACQUES 

[ With ill-humor]: Come now! Who jokes about 
such a thing? Besides if you had thought I was 
joking you would have replied in the same vein. 
Instead of that you asked for time to think things 
over . . . with real sincerity in your voice. [His 
manner softens.| You had to leave for Florence a 
month later. We saw each other every day be- 
fore you went. I took you to the station the night 


a 


66 THE CAPTIVE 


you left, and on the platform during the last few 
minutes before the train pulled out, you said with 
a smile that I can still see that you were going to 
send me your answer. [More coldly.] Well, Ill 
never believe that the answer you were planning to 
send was the one that I finally received three weeks 
later. 


IRENE 
You’re wrong. 
JACQUES 
I don’t believe it. 
IRENE 


What—according to you—could have happened 
to make me change my mind? | 


JACQUES 

I don’t know. Something occurred in your life 
there that I know nothing about, that I haven’t 
tried to find out, but that has changed you in many 
ways. Of course, it’s none of my business . . . but 
surely I have the right to find it—shall we say un- 
expected—that you come to me after that, asking me 
to pose as your fiancé! You must admit it’s a bit 
humorous! 


IRENE 
I thought you’d have a little more sympathy. 





THE CAPTIVE 67 


JACQUES 
Oh, don’t think I’m reproaching you. I just find 
it humorous, that’s all. [Pauwse.] So you told your 
father that I wanted to marry you and that— 


IRENE 
I didn’t tell him you wanted to marry me. I said 
merely that J wanted to marry .. . but that I was 


unaware of your intentions. 


J ACQUES 
And your father believed that this desire came to 
you—like that—with nothing on my part to en- 
courage it? Come, Irene, your father’s fully aware 
of your pride . . . he can’t help but think I’m on 
the verge of telling him I want to marry you. 


IRENE 
I swear that I’ve said nothing which might let 
him suppose so. . . . Anyhow, you’ll see that for 


yourself,—he wants to speak to you. 


J ACQUES 
[ Surprised |: He wants to speak to me? 


IRENE 
I did my best to prevent it, but he wouldn’t listen. 
He said he’d see you to-morrow. 


68 THE CAPTIVE 


JACQUES 
Really? 


IRENE 

You'll see by what he says that I haven’t “dis- 
posed” of you, as you say. ... In a moment of 
distress I turned to you as the one human being who 
could possibly help me. If you don’t want to, there’s 
nothing to compel it. When father questions you, 
you’ve only to act as though all this were news to 
you and surprises you. Say that there’s some mis- 
take—that it’s a misunderstanding for which you’re 
terribly sorry but which you did nothing to cause 
and that will be all. You may rest assured that’s the 
last you'll hear of it. 


J ACQUES 
And then,—what will you do? 


IRENE 
That, Jacques— [She turns away.] 


JACQUES 
Yes. 'That’s none of my business, is that it? 


IRENE 
What can it matter to you? 


J ACQUES 
[After a moment]: But tell me,—before calling 





THE CAPTIVE 69 


on me to help you, didn’t it occur to you that I might 
not be free, that there might be some one else in 
my life. 


IRENE 
I know that there is some one else in your life. 


J ACQUES 
You know it? 
IRENE 
Yes, of course. 
J ACQUES 


Well, then, since you know it, how could you ask 
me to do this for you? 


IRENE 
Am I asking you to change your mode of exist- 
ence in any way? 


JACQUES 
Well, what are you asking me? ‘To pose as your 
fiancé, isn’t that it? 


TRENE 
Not at all! It’s simply— 


J ACQUES 
Yes, yes, only so far as your father is concerned. 


70 THE CAPTIVE 


IRENE 
But not even so far as he is concerned. All I ask 
is that you suggest to him that by taking me away 
from Paris he might lessen the—the possibility of a 
marriage between us some day . . . that’s all. 


J ACQUES 
In other words, you want to take advantage of the 
confidence your father has in me to hide something 
behind it.—I don’t know exactly what, but something 
—that you can’t confess to any one. It amounts to 
that, doesn’t it? 


IRENE 
I simply need a few days until father leaves. Aft- 
erwards—[A gesture. | 


JACQUES 
What afterwards? 


IRENE 
Afterwards, I’ll manage somehow.  [ Deter- 
minedly.| Il find some way of remaining here. 
Pll give you back your liberty, I promise you. 


JACQUES 
But why must you remain here at any cost? 
Mayn’t I know? 


THE CAPTIVE 71 


TRENE 
I don’t wish to leave Paris; that’s all I can say. 


JACQUES 

Irene! Let’s have the truth. You don’t want to 
leave some one who’s in Paris. It’s that, isn’t it? 
Eh? [Irene is silent. A pause.| So that’s what 
you’ve come to. You! ... You that I admired so 
much! You whom I’ve always thought incapable 
of anything low or cheap. And here you are mixed 
up in the cheapest of all things—a lie! 


IRENE 
If I lie, it’s because I’m driven to it. 


JACQUES 
By whom? 


IRENE 
By every one. There’s no other course open to me. 


JACQUES 
That course isn’t worth much, believe me... . 
It won’t lead you far. And, above all, it’s unworthy 
of you, Irene. You’re too fine for that! 


IRENE 
No, I’m not too fine for that! You’ve always 
cherished illusions about me, Jacques. How often 


72 THE CAPTIVE 


I’ve asked you not to place me on a pedestal—don’t 
you remember? Why have you always persisted in 
thinking me different? | 


J ACQUES 
Probably because I loved you. 


IRENE 
Ah! That’s not my fault. 


J ACQUES 
And then, no, it’s not true! ... You were dif- 
ferent! Only you’ve changed . . . or rather they’ve 
changed you— 


IRENE 
[ Aggressively.] 'They? Who? 


| JACQUES 
No doubt the people you’ve been with such a lot 
this past year. In deserting your old friends for 
them it doesn’t seem to me that you have profited by 
the change. 


IRENE 
These “people” as you call them... do you 
know them? 


JACQUES 
Not at all. 


THE CAPTIVE 13 


IRENE 
Well, then— [Pause.] Think what you wish of 
them but don’t tell me about it, do you mind? 


| J ACQUES 
[Angrily]: Very well! But since they mean so 
much to you why didn’t you turn to one of them for 
the help you need? It seems to me that would be far 
more natural. Especially, as I’m not exactly the 
man for this sort of game. 


IRENE 
[ Beseeching ]: Jacques! 


J ACQUES 
You must have some real friends among them— 
one surely—well, ask him. 


IRENE 
I have only one real friend—you. . . . At least 
I thought you were my friend. 


JACQUES 
It’s just because I am your friend that I haven’t 
the right to do what you ask. 


IRENE 


Why? 


14 THE CAPTIVE 


JACQUES 
Because it’s unpleasant, dangerous—and, above 
all, useless. No good can come of a lie like that. 
It’s doomed in advance. 


IRENE 
If you were really my friend, you’d let yourself 
be guided by your heart . . . instead of by the 
rules of middle class morality. 


JACQUES 
Middle class morality has its good points. 


IRENE 
[Ironically]: Yes .. . especially to those who 
profit by it! 
JACQUES 


What does that mean? 


IRENE 
Were you being prompted by the rules of that 
morality last year when you asked me to be your 
mistress? You remember that... ? 


JACQUES 
Yes, I do. 


IRENE 
Highly moral, that? 


ee ee ee nS 





THE CAPTIVE 15 


oJ ACQUES 
Yes. 
IRENE 
Ah! 
J ACQUES 


Yes, because if you had belonged to me, you’d 
have ended by loving me and marrying me. I’d have 
overcome your unwillingness to give up your liberty. 
. . « It would have been a step toward the only solu-~ 
tion of any girl’s life—marriage. 


IRENE 
Then it was to convert me to marriage that you 
wanted me to give myself to you? 


J ACQUES 


Yes. 


IRENE 
Really? [Pauwse.] I had thought it was merely 
because you wanted me. 


J ACQUES 
Naturally I wanted you. I wanted you with all 
my heart. The thought of your body against mine 
stirred my blood—as it does at this minute, if you 
must know! 


76 THE CAPTIVE 


IRENE 
Jacques! 


J ACQUES 

I’m beginning to think I'll never get over my love 
for you. However, that’s neither here nor there, and 
doesn’t interest you. . . . What I want to tell you 
is that it’s always you of whom I think... . even 
before myself, do you hear? Even now. So that 
you won’t doubt it, P’ll say this:—swear to me that 
this’ affair of yours—about which I don’t ask to 
know anything—will eventually lead to a marriage 
worthy of you... just swear that and I’ll do 
anything you want me to do. Can you swear 
it? 


IRENE 
[Turning away]: ...I won’t swear to any- 
thing. 
JACQUES 


Very well. Then, I refuse. Think what you like 
. . . that I’m heartless, that I don’t love you—I 
don’t care. I refuse. And if my refusal makes you 
give up this affair a bit sooner than you expected, 
it will be better all around, you may be sure. 


IRENE 
[With intense feeling]: You ought to know me 
well enough, Jacques, to realize that T’ll do what 





THE CAPTIVE 17 


I’ve decided to do .. . even if doing so shatters 
everything. 


J ACQUES 
Have you gone crazy? 


IRENE 
[Wildly]: No! But I will if I’m forced to 


leave. ... 


JACQUES 
Irene! [Irene lowers her head, repressing her 
emotion. GISELE enters, at back. | 


GISELE 
Jacques, papa says not to go,—he wants to speak 
to you. 


IRENE 
[ Alarmed]: How did he know Jacques was here? 


GISELE 
Why, Etold him. He just got back. He took one 
look at the table and said it looked like nothing at 
all! So he told me to fetch you and I said you were 
with Jacques. [Pause. Penitently to Irene.] 
Shouldn’t I have said that? 


IRENE 
[Embarrassed]: That’s all right, dear. 


18 THE CAPTIVE 


GisELE 
So he sent me to ask Jacques to wait because he 
wanted to see him, that’s all... . [T’o Jaceauss. ] 


Did I put my foot mit... ? 


JACQUES 
No, Gisele, it doesn’t matter. 


GISELE | 
Well, I couldn’t know! You should have warned 
me. [She goes out. Jacaues closes door. | 
[IrENE stands rigid for a moment, then suddenly 
making up her mind, hurries nto the dress- 
ing room emerging with a cloak which she 
throws about her as she heads for the door, 
back. | 
JACQUES 
[Barring the way]: What are you doing? ... 
You’re going out? 
IRENE 
I’m ledving here. 7 
J ACQUES 
Where are you going? 


IRENE 
[Hotly]: That’s my business. ... Im going, 
that’s all. 





1, 


THE CAPTIVE 719 


oJ) ACQUES 
But, Irene— 
IRENE 
Let me go! 
JACQUES 


Why do you want to leave? 


IRENE 
It’ll put an end to all this! 


JACQUES 
You’re not in your right senses now! 


IRENE 
Let me pass! 


J ACQUES 
What shall I say to your father? 


IRENE 
Whatever you like, I don’t care. ... Let me 
pass! 


JACQUES 
No! 


IRENE 
You’ve no right to stop me from doing what I 
want. 


80 THE CAPTIVE 


J ACQUES 
I’ve a right to stop your doing something rash! 


IRENE 
[In a torment of terror and despair]: I’ve had 
enough! Enough! I’m twenty-five, free to do as I 
like without accounting to any one. Let me pass! 
Jacques ! 


J ACQUES 
Irene, come, calm yourself, I beg of you! 


IRENE 
Do you realize what my life here will be after 
father has spoken to you? No! No! Tl not be 
questioned any more! I can’t stand this being baited 
by the world! I want to go away! 


J ACQUES 
Trene! 


IRENE 
After all, what difference does it make to you if 
I go? 


J ACQUES 
What difference does it make to me? 


IRENE 
[In cold fury]: Yes,—is it any business of yours? 


Cy at ee ne Pee ee Ter ee ee eT, 






THE CAPTIVE | 81 


JACQUES 

[ After a pause, leaving her|: You’re quite right. 
Very well, go. [He comes forward and sits near the 
table, his head in his hands. Irene, without moving, 
follows him with her eyes.| Well, why don’t you 
go? What’s keeping you from going to him, now? 
[A wan smile crosses InENE’s face. She wraps her 
cloak around her and goes slowly to the door, which 
she 1s about to open. He sits up.] Irene! 


IRENE 


[Turning back]: Yes? 


JACQUES 
[After a pause; curtly]: Stay here! 


IRENE 
What? 
JACQUES 
Stay here, I say. 
IRENE 
I don’t understand. 
JACQUES 


Yes you do, you understand perfectly. . . . Take 


82 THE CAPTIVE 


off your wrap. If your father sees it, he’s the one 
who won’t understand. 


IRENE 
But explain what you— 


JACQUES 
Do asI say. [Montcet enters at back. Irene, 
hidden by the door, lets her cloak slip off. MontcEe. 
crosses to JACQUES. | 


MontceEL 
Good evening, Jacques. 


J ACQUES 
Good evening, uncle. 


Montcei 
I hope you didn’t mind waiting. 


JACQUES 
Not at all. 


MontTce. 

I was going to drop you a line asking you to come 
in to see me to-morrow, but when I heard you were 
here with Irene I thought I’d save you the trouble. 
. . . I wanted to have a chat with you. Shall we 


THE CAPTIVE 83 


go along to my study? [Jacavues assents.| I won’t 
keep you long. [Takes Jacaurs to door—sees 
IrENE—stops.] Go ahead, I'll join you. [Jaceaues 
goes out. Montcet quickly to Irrenr.] You’ve 
already spoken to him, haven’t you? 


| IRENE 
What do you mean? 


MonrTcen 
Well, if he knows—tell me. It will save a lot of 
useless talk. 


IRENE 
[After a moment.] Yes. 


MontTceL 


Well? . . . What’s his answer? 


IRENE 


He’ll tell you himself. 


MontcrEu 
Good. [He goes out. Irene remains there, 
thoughtful, brooding, her face woeful. After a mo- 
ment, her eyes light on the vase which contains the 


84 THE CAPTIVE 


violets; she is drawn over to them, looks at them, 
touches them delicately. Then, as if an idea had 
taken her, she regards her watch, half hesitates and 
reaches for the telephone. She lifts the receiver with 
intense anticipation as 

- THE CURTAIN FALLS 


THE CAPTIVE 


ACT TWO 


Scene: A study in Jacauss’ apartment. It has 
a bookish, comfortable appearance. There are doors 
at back to the hall, at right to a bedroom and at left 
to a small salon or reception room. A large desk 
stands center. A few good-sized chairs and a mas- 
sive leather divan are placed about. 

It is a month later. 

At the rise Jacaues is discovered seated, mus- 
ing deeply, his eyes staring ahead. On his lap he 
has an open snapshot album neglected for the 
moment. 

A door bell sounds, Jacaues scowls, regards his 
watch and, rising, murmurs, “Oh, well!” 

GrorcEs, his man, enters. 


GEORGES 
Are you at home, monsieur? 


J ACQUES 
I’m expecting Madame Meillant. It’s probably 
she. 


rs Bm 


oo 


86 THE CAPTIVE 


GEORGES 
Yes, monsieur. [He goes out. Jacaurs places 
the album in a drawer of desk. Grorces returns. | 
It’s not Madame Meillant, monsieur; it?s Mademoi- 
selle de Montcel. 


JACQUES 
[ Surprised]: Mademoiselle de Montcel? 


GEORGES 
Yes, monsieur. 


JACQUES 
{ Nervously |: Have you shown her into the salon? 


GEORGES 
Yes, monsieur. 


J ACQUES 
Very well.. [He goes toward door which leads to 
the salon.]| Oh! When Madame Meillant comes tell 
her—tell her that I telephoned I'd be a bit late. Say 
that I hope she’ll forgive me and ask if she’d mind 
coming back at four, if that’s convenient. [Looks at 
his watch.] That’s it, at four. 


GEORGES 
Very good, monsieur. [He goes out. JacaveEs 
opens door to salon. | 


THE CAPTIVE 87 


JACQUES 
Do come in— [Surprised.] Why, it’s—? Well! 
My man said it was Mademoiselle de Montcel so I 
thought— 


GISELE 
[Entering]: That it was Irene? 


J ACQUES 
Yes. 


GISELE 
Oh, I’m so sorry, Jacques. 


J ACQUES 
But not at all—why? 


GISELE 
Because you must be terribly disappointed! 


JACQUES 
Not at all, my dear. [Closes door.] I’m de- 
lighted to see you. A bit surprised, but delighted. 


GISELE 
You’re surprised because you think that a girl 
of my age shouldn’t come alone to a man’s apart- 
ment, is that it?) But I didn’t come alone. Made- 
moiselle Marchand is waiting downstairs in the car. 


88 THE CAPTIVE 


J ACQUES 
You’ve no need to explain. Do sit down! 


GISELE 
I’ve just one thing to tell you. 


JACQUES 
Sit down anyway. 


GISELE 
[Sits]: At first I thought I’d telephone you this 
morning to ask when I could come, but the phone’s 
in Irene’s room and I didn’t want her to hear. 


JACQUES 
I see. 
GISELE 
So instead I came early to have a better chance 
of finding you in... . [She hesitates.] Jacques, 


perhaps you’re going to think that what I’m doing 
is a bit ridiculous and even uncalled for—but I don’t 
care. It’s just this—I’ve come to tell you that Irene 
is very unhappy. 


JACQUES 
Irene? 
GISELE 
Yes ... and you can believe me. . . . I’m say- 


ing this only because I’m sure of it. For some time 


THE CAPTIVE 89 


now she’s been acting in a very strange, nervous way. 
Several times it seemed to me that her eyes were 
rather red. Mademoiselle Marchand had also noticed 
it. And the other day I went into her room to phone, 
thinking she’d gone out, and, although she turned 
her face away, I saw she was crying. 


J ACQUES 


Ah? 


GISELE 

For Irene to cry means that something’s really 
wrong. I can’t bear seeing her wretched! Any- 
thing rather than that. I thought it over and de- 
cided you didn’t know about it and that you should. 
That’s why I’ve come. So, Jacques—that’s all. 
[4 pause.] Are you annoyed with me for telling 
you this? 


J ACQUES 
I’m not annoyed with you at all, my dear,—only 
I must confess that I don’t quite understand why 
you thought you ought to tell me about it! 


GISELE 


What? 


JACQUES 
I’m very fond of Irene but I don’t see that I— 


90 THE CAPTIVE 


GISELE 
[Smiling]: Jacques . . . papa told me before he 
left. 
J ACQUES 


[Surprised and rather annoyed]: What did he 
tell you? 


GISELE 

Oh, don’t worry! He swore me to secrecy—and 
you may be sure Ill never tell a soul. Besides, I 
realize that you both want to think things over, and 
that you don’t feel free to commit yourself definitely 
just now because of your business troubles. . . . I 
know all that. ... [Jacevrs is disturbed and 
wretched.] . . . Are you cross that papa told me? 


JACQUES 
No, no, it doesn’t matter. 


GISELE 

You see, it would have been difficult for him not 
to say something. It had been all arranged that we 
were to go to Rome with him. Then suddenly plans 
are changed; we’re to remain here—with Mademoi- 
selle Marchand living at the house as chaperon. So 
papa probably felt obliged to give me some explana- 
tion. He didn’t realize that I had already guessed 
everything. 


THE CAPTIVE 91 


JACQUES 
What—what had you guessed? 


GISELE 

Everything! After all, it wasn’t so brilliant of 
me! I knew that Irene wanted to stay in Paris and 
that papa wouldn’t hear of it. Then on top of that, 
you come to see Irene, you have a talk with papa, 
and the same evening he announces to Irene that she 
may remain and that he’ll leave me with her. Well, 
I didn’t have to be so awfully bright to understand 
what all that meant. [Rises.] And, Jacques, I was 
so happy when I did understand. I can’t begin to 
tell you how happy! 


JACQUES 
Really? 


GISELE 
I’m positive you’re just made for one another! 
Don’t you think so too? 


JACQUES 
Of course, my dear. 


GISELE 
So now you understand why I came? 


JACQUES 
I understand. 


92 THE CAPTIVE 


GISELE 
Was it wrong of me to come? 


JACQUES 
No. 
GISELE 
And it’s true that you had noticed nothing, isn’t 
it? 
JACQUES 
Nothing. 
GISELE 
I was sure of it! I said to Mademoiselle Mar- 
chand: “If Jacques asked papa to leave Irene in 
Paris, it’s because he loves her, and if he loves her 
he can’t want her to be miserable . . . or else he 
hasn’t noticed it. And, naturally, if no one does 
anything it all might go on forever! And it must 
not go on.” [She takes his hand.] Must it, 
Jacques? | 


JACQUES 
No, it mustn’t, Gisele dear. Only, don’t you see— 


| GISELE 
No, don’t tell me. I don’t want to know anything. 
It’s none of my business. I’ve told you what I 
wanted to say. The rest is your affair. I ask just 
one thing—never let Irene know I came here, be- 
cause she’d never forgive me for it. Promise? 





Photograph by Florence Vandamm 





Irene: It’s like 
return captive, despite myself. 





a prison to which I must 


(HELEN MENKEN and BASIL RATHBONE) 





THE CAPTIVE 93 


JACQUES 
I promise. 


GISELE 


Thank you. [She lets go his hand. ] 


JACQUES 
Wait, please don’t go yet, do you mind? [He 
walks about, thinking, then stops in front of her.] 
Do you trust me, Gisele? 


GIsELE 
[Surprised and a bit worried]: Why, Jacques, of 
course ! 


J ACQUES 
Enough to believe me without asking for explana- 
tions? 


GISELE 
[ Still anxious |: Yes, what is it? 


JACQUES 
You think—and it’s natural enough you should— 
that I could prevent Irene’s being unhappy if I 
wanted to, don’t you? 


GISELE 


Yes. 


94 THE CAPTIVE 


JACQUES 
Well, you’re mistaken. 


GISELE 
What? 
J ACQUES 
I can do nothing for her . . . or so little... . 
GISELE 
You? 
JACQUES 
1 
GISELE 


Then it’s not because of you that she’s unhappy? 


J ACQUES 
No. 


GISELE 
[ Astonished]: No? . . 


J ACQUES 
If it were because of me, believe me she’d not be 
unhappy long. Of course I can try to do something 
for her. It may accomplish nothing, but I can try. 
Only for that IT’ll need you. 


THE CAPTIVE 95 


GISELE 
Me? 


J ACQUES 
Yes. I need some information that only you can 
give me. If I knew of any one else to turn to, I 
would, but, if you think my questions are indiscreet 
or if you believe they are prompted by anything but 
my desire to see Irene happy, don’t answer them. 


GISELE 
What do you want to know? 


JACQUES 
I’d like to know something about the life she leads, 
the people she sees. 


GISELE 
The people she sees? Why you, mostly. 


JACQUES 
Me? 
GISELE 
Yes. 
JACQUES 


When does she see me? 


96 THE CAPTIVE 


GISELE 
Well—I don’t know. Don’t you always have tea 
together? 


J ACQUES 
Did she tell you that? 


GISELE 
[Puzzled]: I had understood that. . . . I might 
have been mistaken. 


JACQUES 
[After a pause]: And besides myself, whom does 
she see? 


GISELE 
Well, you know, she doesn’t tell me a great deal 
about what she does. 


JACQUES | 
When she goes out, doesn’t she ever tell you 
where she is going? 


GISELE 
She goes to the studio every day after lunch. 


JACQUES 
Ah, yes. . . . And at night, does she ever go out? 


THE CAPTIVE 97 


GISELE 
At night? Oh, almost never. She’s been once or 
twice to the theater or a concert, but that’s all. 


J ACQUES 
Alone? 


GISELE 
No, with Monsieur and Madame d’Aiguines. 


JACQUES 
Oh. [After a pause.] She met them in Italy, 
didn’t she? 


GISELE 
Yes, in Florence, last year. 


JACQUES 
Do you ever see them? 


GISELE 
I? Never! 
JACQUES 
Why? 
GISELE 


I don’t know them. 


98 THE CAPTIVE 


J ACQUES 
How is it you’ve never met them if Irene is so 
intimate with them? 


GISELE 
That’s no reason. She never suggested my meet- 
ing them and I never asked to. 


J ACQUES 
Why? Don’t you like them? 


GISELE 
But I don’t know them. 


JACQUES 
Does she ever speak to you about them? 


GISELE 
No, never. 


J ACQUES 
And have you never had curiosity enough to ask 
her questions about them? 


GISELE 
I never ask Irene questions. When she speaks to 
me first about some one or something—well and 
good. But when she doesn’t, she doesn’t, that’s all. 


THE CAPTIVE 99 


J ACQUES 
So, you know nothing about the d’Aiguines? 


GISELE 
Very little. I know that she is Polish or Austrian, 
I don’t remember which. 


J ACQUES 
But you know nothing about him? 


GISELE 
Nothing. 


JACQUES 
You don’t know what he does, whether he has any 
business? 


GISELE 
I’ve no idea. 


JACQUES 
You don’t know either—what he’s like? 


GISELE 


Oh, his looks? 


J ACQUES 
Yes. 


100 THE CAPTIVE 


GISELE 
He’s tall, clean shaven—rather smart. 


J ACQUES 
Then you’ve seen him? 


GISELE 


Yes. 


JACQUES 
Where have you seen him? 


GISELE 
At the front door one evening when he had brought 
Irene home. I happened to be going in at the same 
time and saw him. Why? 


J ACQUES 
I went to school with a chap by the name of 
d’Aiguines. I was wondering if it were the same. 


GISELE | 
Oh, I don’t think so. He’s quite a bit older than 
you. 


J ACQUES 
Ah? ... Perhaps he’s a cousin, then... . 
There are several branches of the family. .. . 
[ Pawse.| Is that the only time you’ve ever met him? 


THE CAPTIVE 101 


GISELE 
Yes. I heard his voice on the telephone one day 
when he called up and Irene was out. That’s all. 


J ACQUES 
Does he ever come to see her? 


GISELE 
At home? No, never 





JACQUES 
Do you know where they live? 


GISELE 
Avenue Victor Hugo, but I’ve forgotten the num- 
ber. 'They’re in the telephone book. 


J ACQUES 


[Thoughtful]: Good.. 


GISELE 
The d’Aiguines interest you as much as that? 


J ACQUES 
Oh! They interest me—because they’re friends 
of Irene, that’s all. 


GISELE 
Is that all you wanted to ask me? 


102 THE CAPTIVE 


JACQUES 
Yes, my dear, thank you. You haven’t told me 
much I didn’t already know, as a matter of fact. 
But our talk hasn’t been without value. [Pause.] 
Oh !—it’s understood that Irene must never know 
about it. 


GISELE — 
I promise you that. 


J ACQUES 
I know I can trust you. 


GISELE 
[ Hesitatingly]: Jacques, before I go—I should 
like to—to ask you a question. 


J ACQUES 
Why, certainly. 


GISELE 
Can’t you tell me what you’re going to do to help 
Irene? 
JACQUES 


No, Gisele. Besides my plan has such slight 
chance of success. .. . 


GISELE 
Yes, but you wouldn’t attempt it, would you, if 
you didn’t think it might succeed? 


THE CAPTIVE 103 


JACQUES 
Well, let’s say the chances are about one in ten. 


GISELE 
Well, if it does succeed would it—would it mean 
that you’d get married? ‘Tell me? 


-J ACQUES 


No. 


GISELE 
Ah! [Pause.] And yet you love her? 


JACQUES 
[Smiling wanly]: Do you believe so? 


GISELE 
Oh, come! I’ve known it for ever solong. You’ve 
been in love with her ever since the summer you 
spent at Montcel. 


JACQUES 
But that’s not enough, you see. 


GISELE 
You mean that she doesn’t love you? 


JACQUES 
Yes, just that. 


104 THE CAPTIVE 


GISELE 
Are you sure? 
JJ ACQUES 
Absolutely. 
GISELE 


What a pity! ... [She hesitates; then realizes 
there is no more to be said.| Good-by, Jacques. 


J ACQUES 
Good-by, dear child. 

[She looks at him sadly, takes his hand, then with a 
sudden, tender movement, kisses him on both 
cheeks and exits. He goes with her, enters 
again a few seconds later, sits at his desk and 
ponders. Picks up telephone book, looks up a 
number, then calls. | 

Passy 83-42. ... Hello, is this Monsieur 
d’Aiguines’ house? . . . Is Monsieur d’Aiguines at 
home? ... Oh! ... well, can you give me his 
office address? Where? ... [He writes on pad.]| 

Thank you very much. Do you happen to 

know until what time he’ll be there? . . . Thank 

you. 

[Hangs up receiver, takes writing-paper and begins 
to write. After writing a few lines, re-reads 
what he’s written, appears irritated, crumples it _ 
up and takes a fresh sheet. When he has fin- 


THE CAPTIVE 105 


ished, he rings, puts letter in envelope, ad- 
dresses it. GEORGES enters. | 


GEORGES 
Did you ring, monsieur? 


JACQUES 

Yes. Jump into a taxi and take this letter to 
this address. It’s a bank. If they tell you that the 
gentleman is in, deliver the letter and wait for an 
answer. [A door bell is heard.| If he’s not in, 
bring me back the letter and ask if there is a chance 
of finding him there to-morrow morning. You 
needn’t leave my name—it’s not necessary. 


GEORGES 
Yes, monsieur. 


JACQUES 
You quite understand? 


GEORGES 
Yes, monsieur. 


JACQUES 
See who is at the door. 


GEORGES 
[Going toward door, back]: If it is Madame Meil- 
lant, monsieur, what shall I say? [Bell rings again 
with insistence. | 


106 THE CAPTIVE 


JACQUES 
[ Smiling]: It ts Madame Meillant—show her in. 
[Grorcres goes out, enters a moment later with 
FRANCOISE, an exceedingly handsome young 
woman, smartly attired. GrorcEs leaves. | 


FRANCOISE 
Well, I thought you were going to leave me 
planted on the doorstep. You must tell Georges 
to open the door more quickly. One always runs 
into some one on stairways. [She moves about, very 
much at home. | 


JACQUES 
I love your plural! [Lights cigarette at desk. | 


FRANCOISE 


What? 


JACQUES 
Nothing. It’s not Georges’ fault, it’s mine. I 
was giving him an order. 


FRANCOISE 
Huh, that only makes it worse! [After pause, 
turns to him.] Hullo, dear! 


JACQUES 
Hullo, Francoise. 


THE CAPTIVE 107 


FRANCOISE 


Well! After all... ! 


JACQUES 
But you don’t give me a chance to open my mouth. 
[He gives her a light kiss.] 


FRANCOISE 
You’re not in a very pleasant mood to-day. 


JACQUES 
I? Of course, I am. 


FRANCOISE 
Why didn’t you come to the Van Gartens’ last 
night? 


JACQUES 
I couldn’t get there. 


FRANCOISE 
I waited until twelve-thirty for you to come, and 
I had a beastly headache. At least you might have 
let me know. 


JACQUES 
But I told you it wasn’t likely I’d be there. 


FRANCOISE 
I know. But I’d begged you so hard to at least 


108 THE CAPTIVE 


try to call for me, that I thought surely you’d 
make a special effort. Apparently the day is past 
for me to ask that sort of thing. 


JACQUES 
I’m so sorry, Francoise. 


FRANCOISE 
What were you doing that was so entertaining— 
if I’m not being indiscreet? 


JACQUES 
I was dining at my brother’s house and it was 
very late when I left. 


FRANCOISE 
Couldn’t you have told him you were due at a 
party? 


J ACQUES 
He’d just come back to town. I hadn’t seen him 
for two months. 


FRANCOISE 
Evidently that was more amusing than coming 
to fetch me. 


JACQUES 
Well, yes. Frankly, you know I hate those 
parties— 


THE CAPTIVE 109 


FRANCOISE 
You hate everything I like. 


JACQUES 
No, I don’t, my dear. 


FRANCOISE 
You do. It’s always like that—I’m beginning to 
get used to it. [Pause.] Only it’s possible you 
made a mistake by not coming last night— 


JACQUES 
[His thoughts elsewhere]: Really? 


FRANCOISE 
Oh, I say that, but really everything’s of so little 
interest to you now— 


J ACQUES 
What?’s of so little interest to me? 


FRANCOISE 
Well, for instance, that some one should have 
paid me—very marked attention. 


JACQUES 
Some one paid you very marked attention? 


110 THE CAPTIVE 


FRANCOISE 
Yes— [Pause.] Oh, you know well enough that 
when a woman has been seen frequently with the 
same man, and then suddenly is noticed arriving 
and leaving alone, other men begin to take new in- 
terest in her. Besides, last night, I had on a very 
becoming gown— 


J ACQUES 
Which one? 


FRANCOISE 
You haven’t seen it. I had hesitated before order- 
ing it because of you—imagine that!—I thought 
you might find it rather décolleté. But I’m glad I 
took it now. It was a terrific success! 


J ACQUES 
I’m so glad, darling! 


FRANCOISE | 
I knew it was a sensation as soon as I arrived— 
from the way the women looked at it! 


J ACQUES 
Not by the way the men looked at it? 


FRANCOISE 
Yes, but a bit later. Women notice that sort of 
thing more quickly. 


THE CAPTIVE 111 


JACQUES 


Ah? 


FRANCOISE 
Then, too, I think that I was in great form last 
night. 


JACQUES 
In spite of the headache? 


FRANCOISE 
In spite of the headache. At least I was told so 
any number of times. 


J ACQUES 
By whom, for instance? 


FRANCOISE 
What do you care? 


JACQUES 
I’m very interested. You don’t doubt that, I 
hope? 


FRANCOISE 
Well, let me see. . . . Several of the men who 
were there . . . your friend Moreuil, by the way, 


didn’t leave my side all evening. 


112 THE CAPTIVE 


JACQUES 
Oh! I thought he was in America? 


FRANCOISE 
He’s come back—come back, what’s more, an 
amorous devil. He insisted on seeing me to my door, 
and he was about to suggest coming up with me. 


J ACQUES 
Not really? 


FRANCOISE 
I think in fact—between ourselves—that he did 
suggest it. 


JACQUES 
[Smiling indifferently]: Good old Moreuil. [Puts 
out cigarette. FRANncoisE is piqued and gives him 
a glowering look.| And so, you were saying that 
he— 


FRANCOISE 
[Rises impatiently]: Oh! Please! That’s enough, 
isn’t it? Let’s speak about something else! 


J ACQUES 
As you say. 





THE CAPTIVE 113 


FRANCOISE 
Listen, Jacques. When I came I’d no idea of 
making a scene. But it really begins to look as if 
you were trying to exasperate me! I’ve stood for a 
great deal for some time, but this is too much! 


JACQUES 
All right, let’s have it! 


FRANCOISE 
I understand well enough that you don’t love me 
any more; that’s quite within your rights. But that 
being the case, why not say it? We've never sworn 
eternal fidelity, have we? Be frank about it for 
once—it would be so much better. 


JACQUES 
But nothing is changed, Francoise. 


FRANCOISE 

Ah, you think not, do you? . . . Well, let me tell 
you that if you had never shown more ardor than 
you have to-day I never would have been to you what 
I have. Ah!...No!...I realize now that I 
gave in much too soon. You’d have loved me more 
if I had made you want me longer. I liked you and 
let you see that I did; so much the worse for me. 
At least in the beginning I could entertain some illu- 
sions about our love! But now—! 


114 THE CAPTIVE 


JACQUES 
I give you my word, Francoise, that my feeling 
for you has not changed in the least. 


FRANCOISE 
What does that mean? 


J) ACQUES 
Well, that— 


FRANCOISE 
That you have never loved me, is that it? 


JACQUES 
I didn’t say that. 


FRANCOISE 
But it’s what you’re thinking. Well, at least 
you’re being frank about it, thank heaven! At last! 
But if you never loved me why did you ask me to 
become—to become your— 


JACQUES 
[ Breaking in quietly]: I might reply that I never 
asked you to. 


FRANCOISE 
You never asked me? 


THE CAPTIVE 115 


J ACQUES 
No, Francoise. 
FRANCOISE 
So! Well, then I— 
JACQUES 


But don’t you remember— 


FRANCOISE 
Then I suppose it was I who begged you to be- 
come my lover? 


oJ ACQUES 


FRANCOISE 
Well one of us must have done it—if not you— 
then it must be I! 


J ACQUES 
Listen, Frangoise, let’s speak about something 
else. 


FRANCOISE 


No! Not until you’ve explained what you meant. 


J ACQUES 
Let’s pretend that I didn’t say anything. 


116 THE CAPTIVE 


FRANCOISE 
No, no, no! You can’t get out of it like that. It 
would be too easy to insult a person, and then— 


JACQUES 
How have I insulted you? 


FRANCOISE 
Well, if you don’t think it insulting to tell a 
woman who has been your mistress for six months 
that you never asked her to be, then just what is it? 


JACQUES 
In that case I offer all kinds of apologies. I 
simply yielded for the moment to the desire of relat- 
ing what happened between us. I was wrong. Do 
forgive me. 


FRANCOISE 
Relating what happened between us? You’re 
going back to that? 


JACQUES 
My dear, try to recall the first taik we had! 


FRANCOISE 
Our first talk? 


JACQUES 
One of the first, if you prefer. It was at Ver- 
sailles, by the lake. You had telephoned me in the 


THE CAPTIVE 117 


morning to ask if I cared to motor out into the coun- 
try. We left your car at the entrance of the 
grounds—if you remember— 


FRANCOISE 
I remember, yes. 


JACQUES 

And you said: “The biggest mistake that women 
make is to select the same man to make love and 
to talk about it.” I thought that was an amusing 
idea and I replied, “One can hardly expect to be at 
the head of one’s class in both rhetoric and gym- 
nastics!” You agreed with me and were charming 
enough to add that I must be at the foot of my class 
in rhetoric! Finally, you said you saw no reason why 
two people who were physically attracted to each 
other should not establish an intimacy,—it being 
thoroughly understood that there would be no tres- 
passing on the domain of sentiment. The idea de- 
lighted me, and as it was time for tea I suggested 
that we return to town and have it at my apartment 
. which you were good enough to accept... . 

That is exactly how it all happened. 


FRANCOISE 
And what has that to do with it? 


118 THE CAPTIVE 


JACQUES 
I always thought that that day we settled the 
exact relation between us. 


FRANCOISE 
[Shrugging her shoulders]: As if one meant se- 
riously everything said at such times. 


J ACQUES 
I meant what I said. I only undertook a relation 
I could abide by. If I had undertaken any other it 
would have been very unfair to you. 


FRANCOISE 
You’re being that now, my dear. Do you think 
that falling in love with me was beneath you? 


J) ACQUES | 
It’s not a question of that! 


FRANCOISE 
Strange as it may seem to you, there are many 
men who feel differently about it. 


JACQUES 
But I’m aware of that, Francoise! You’re a very 
attractive woman and I know perfectly that there are 
many men who would like to be in my place. I’m 


THE CAPTIVE 119 


sorry I can’t make myself more clear. I only meant 
to say that at the time of our meeting, I could make 
no other promises—-than those I made—that’s all. 


FRANCOISE 
Because you were in love with some one else, no 
doubt. . . . And you still love her, is that it? Say 
it! Why don’t you say it? 


JACQUES 
That, Francoise, belongs in the domain of senti- 
ment. I have never trespassed on yours, you must 
admit. Keep off mine. 


FRANCOISE 
Do I know her? 
JACQUES 
Please. 
FRANCOISE 


You won’t tell me? 


JACQUES 
There’s nothing to tell. 


FRANCOISE 
Oh! I'll find out . . . it can’t be very difficult. 
. . . Who is she? 


120 THE CAPTIVE 


JACQUES 
I assure you, Francoise, that you’re wasting your 
time. 


| FRANCOISE 
[Searching]: Let’s see; a woman that you were 
already in love with six months ago and who does 
not love you— 


JACQUES 
' How do you know that she doesn’t love me? 


FRANCOISE 
That’s evident. Else why should you have turned 
elsewhere for distraction. That’s really all Dve 
been to you—a distraction! 


JACQUES 
Yow’re mistaken, Francoise. 


FRANCOISE 
Yow’re very kind, but don’t bother to protest 
further. . . . I know who she 1s. 


JJ ACQUES 


Ah? 


FRANCOISE 
The Barentier girl? 


THE CAPTIVE 121 


J ACQUES 
Now you have it! 
FRANCOISE 
It’s not she! 
JACQUES 


Yes, yes, let’s say it is! 


, FRANCOISE 
Great heavens! You’re annoying! 


JACQUES 
Francoise, please, let’s change the subject. 
[Grorcrs enters]: Pardon me... [T'o 


_ Gerorces.| Well? 


GEORGES 
I delivered the letter. 


J ACQUES 
Did you see the gentleman? 


GEORGES 
Yes, monsieur. He didn’t write an answer but he 
asked to say that he was coming here to see you. 


J ACQUES 


Really? When? 


122 THE CAPTIVE 


GEORGES 
Now, monsieur. 


JACQUES 
What, you mean right away? 


GEORGES 
Yes, monsieur. He asked if you were at home. 
I said I thought you were. Then he said he was 
coming. 


JACQUES | 
[After a pause]: All right. . . . When he rings, 
ask him to go into the salon. 


GEORGES 
Yes, monsieur. [ Faits. ] 


FRANCOISE 
Are you expecting some one? 


JACQUES 
Yes. I hope you’ll forgive me, Francoise. It’s a 
man whom I must see about a business matter— 
a rather important one—concerning my interests in 
Morocco. 


FRANCOISE ° 
Why, yes, of course. 


THE CAPTIVE 123 


JACQUES 
I wasn’t expecting him. Not to-day at least, 
otherwise— 


FRANCOISE | 
It doesn’t matter at all. [Goes to divan, gets hat 
and things.] As a matter of fact, there was very 
little left for us to say to each other—wasn’t there? 
[Pulls hat on.] 


JACQUES 
But—I don’t know, Francoise. 


FRANCOISE 

You see, Jacques, I’ve only just realized that for 
the -past six months it’s I who have given a bit too 
much both the questions and the answers. So now, 
I think there’s been enough of it and the best thing 
we can do is put a period at the end of our page. 
[He helps her on with her coat.| Don’t you think 
so too? 


, JACQUES 
Just as you please. 


FRANCOISE 


Ah! Well— 


JACQUES 
What? 


124 THE CAPTIVE 


FRANCOISE 
Oh, nothing: I feared you might have made some 
protest—merely as a matter of form. But I see that 
you’ve bravely made up your mind—and don’t even 
regard it worth while to protest. Splendid! Let 
me congratulate you on your resignation— [ Pause. ] 
What are you thinking? 


J ACQUES 
[Whose mind is on other things |: Why—of you 
and what you’ve just said... . 


FRANCOISE 
No, you weren’t. 


JACQUES 
I’m sorry, Frangoise. As a matter of fact I was 
worrying a bit about this coming interview. Do for- 
give me. Can’t we meet again some time soon— 
perhaps to-morrow? 


FRANCOISE 


What for? 


J ACQUES 
I'd like to explain—to attempt to make my posi- 
tion clear. 


THE CAPTIVE 125 


FRANCOISE 
I assure you, my dear, that I’ve understood you 
perfectly ! 
[She cries a little but controls herself quickly.] 


JACQUES 
[Going toward her]: Francoise— 


FRANCOISE 
Pay no attention to me!— There, it’s over. And 
now let’s say good-by to each other sweetly like the 
two good friends that we are. I shall miss you, 
Jacques, dear! 


J ACQUES 
Come, Francoise— 


FRANCOISE 
Yes, I will. Oh, it’s not your faniteavan re the 
sort of man one misses. After all, we have some 
rather pleasant memories to look back upon, haven’t 
we? 


JACQUES 
Yes, dear . . . delightful memories. 


FRANCOISE 
You see, Jacques, when a woman promises to love 
you, you mustn’t always believe her. But when a 


126 THE CAPTIVE 


woman promises not to, well, then you mustn’t be- 
lieve her either. 


JACQUES 
My dear Francoise! . . . 


FRANCOISE 
Come, we mustn’t weaken now! 


JACQUES 
But at least, you'll let me write, won’t you? 


FRANCOISE — 

Do! Write me a letter filled with sweetly melan- 
choly thoughts on the way all things come to an end, 
and send it by the florist with a few of those lovely 
carnations that I like. Ill wait until they’re quite 
faded before trying to put you out of my bait 
Good-by. 

[She gives him her hand. He kisses it. The bell is 
heard. He drops her hand and goes up to the 
door. She follows. 


JACQUES 
Wait a moment, won’t you? 
[Grorces enters. To Grorces.] Is it the gentle- 
man? 


GEORGES 
Yes, monsieur. 


THE CAPTIVE 127 


JACQUES 
Very well. 


FRANCOISE 
[Moved]: Don’t forget the carnations. [He 
goes out with her. In a moment he reénters 
and goes to the door of the salon and opens it. | 


JACQUES 
[Talking off]: Would you mind coming in here, 
monsieur ? 
[JacauEs moves a little away from _ door. 
p’AicuInEs enters past him and turns to 
JacaueEs with outstretched hand. | 


p’ AIGUINES 
How are you, old boy? 


J ACQUES 
Why, it’s— 
p’ AIGUINES 
Of course it is! Didn’t you know you were writ- 
ing to me? 7 
| JACQUES 


Why, no, otherwise— 


p’ AIGUINES 
Otherwise you wouldn’t have been so formal, I 
hope. But didn’t my name mean anything to you? 


128 THE CAPTIVE 


J ACQUES 
Of course. But I was led to believe that the 
d’Aiguines I had to deal with was somewhat older. 


| p’ AIGUINES 
Somewhat older? Why? 


J ACQUES 
Well, it doesn’t matter. I remember you had some 
cousins. I thought perhaps it might be one of them. 


p’ AIGUINES 
Ah? ... But what’s the reason for— 


JACQUES 
Ill tell you. [Pause.] Do sit down! 


p’ AIGUINES 
[Puts hat and gloves on desk]: You’re looking 
at me? ... You find I’ve changed, eh? ... Tm 


sure you’d hardly have recognized me? 


J ACQUES 
Yes. . . . I would have. 


p’ AIGUINES 
Good Lord, it’s something like twenty years since 
we’ve seen each other. Not since the days when we 


THE CAPTIVE 129 


wore our trousers out sitting on the same bench at 
school. ‘Twenty years leave their mark! On some 
people at least... . But you’ve hardly changed. 
I’m very glad to see you again, old chap. 


J ACQUES 
Thanks. 


p’ AIGUINES 
It’s strange we shouldn’t have met. Of course 
I haven’t been in France much. What have you been 
doing? Weren’t you in Morocco for a time? 


oJ ACQUES 
Yes. 


p’ AIGUINES 
Who was it told me so? [A pause.] ... Ah, 
yes, I remember; it was Sicard—you remember him 
—fat Sicard? I met him one day in Madrid. We 
were staying at the same hotel. He had just re- 
turned from Africa, I think, and had seen you there. 


«J ACQUES 
Yes. 


p’AIGUINES 
And now you’re living here altogether? 


130 THE CAPTIVE 


J ACQUES 


Yes. 


p’ AIGUINES 
Damn funny thing, life. You really didn’t know 
that the d’Aiguines you were writing to for an ap- 
pointment was I? 


J ACQUES 


No. 


p’ AIGUINES 
Well, the minute I saw your signature I didn’t 
hesitate. 'That’s why I came here right away. If 
Jacques Virieu wanted to see me I certainly couldn’t 
keep him waiting! 


J ACQUES 
[Pause]: Is that the only reason you came here 
right away? 


p’ AIGUINES 
[Surprised]: Good Lord! Since I haven’t the 
least idea what you have to say to me— 


JACQUES 
You haven’t the least idea? 


p’ AIGUINES 
Why, of course not—no. 


THE CAPTIVE 131 


J) ACQUES 


lit «ef 


p’ AIGUINES 
Well, look here, you arouse my curiosity! Upon 
my word, you sit there looking like a judge! Come, 
what’s it all about? 


J ACQUES 
Whom is it all about, might me better. 


p’AIGUINES 
Whom? ... All right, if you prefer it. Well, 
then, whom is it all about? 


JACQUES 
[ Pawse |: About Irene de Montcel. 


p’ AIGUINES 
[ Amazed and annoyed]: Irene de Montcel? 


JACQUES 
Yes. [Pause.] You seem to begin to understand! 


p’ AIGUINES 
No. What can you have to say to me about 
Mademoiselle de Montcel? 


J ACQUES 
You can’t guess? 


132 THE CAPTIVE 


p’ AIGUINES 
No, I can’t! 


JACQUES 
I’m a distant cousin of hers. But what’s more 
important is that I’ve been a friend of hers for a 
long time. One of her best friends—I might even 
say her best friend, if you wish. 


p’ AIGUINES 


Well? 


JACQUES 
You knew that, didn’t you? 


p’ AIGUINES 
I didn’t even know you were acquainted. 


JACQUES 
Have you never heard her speak of me? 


p’ AIGUINES 
Never. 


JACQUES 
She hasn’t even spoken of the—réle that some one 
was playing for her at the present time? 


THE CAPTIVE 133. 


p’ AIGUINES 


What réle? 


JACQUES 
Don’t you know that some one is pretending to 
Irene’s father to be engaged to her, or something 
of the sort? 


p’ AIGUINES 
Engaged to her? 


J ACQUES 
To ward off her father’s suspicions; and to per- 
mit her to remain in Paris, yes. 


p’ AIGUINES 
[ Pause |: She asked you to do that? 


J ACQUES 
Yes. 
p’ AIGUINES 
Did you do it? 
| JACQUES 


Yes. [Pause.] You knew nothing about all 
that? 


p’ AIGUINES 
I? Why, of course, I didn’t! 


134 THE CAPTIVE 


J ACQUES | 
Really! I had somehow imagined that you would 
have known about it. 


Dp’ AIGUINES 
What are you driving at? 


J ACQUES 
I merely wanted to let you know by what right 
I say what I shall have to say to you about her. 


p’ AIGUINES 
That’s all very well—but I’ve no right to listen 
to what you may have to say about the young lady. 
[ Rises. | 
J ACQUES 
Sit down, please. 


p’ AIGUINES 
[ Disturbed]: What for? I tell you again that 
it’s something which doesn’t concern me. 


JACQUES 
Steady! Otherwise, I’ll be forced to think it’s 
something which concerns you deeply. 


p’ AIGUINES 
[Feelingly]: What do you mean? 


THE CAPTIVE 135 


JACQUES 
I mean that a suspicion I had before your ar- 
rival has become a conviction in the last five min- 
utes. 
p’ AIGUINES 
All right—keep your suspicions to yourself, and 
allow me to leave? 


JACQUES 
[Standing between the door and p’AtcutneEs]: I 
swear that you’ll listen to me! 


p’ AIGUINES 
Good God! Are you crazy? 


JACQUES 
No. 
p’ AIGUINES 
You insist upon my listening to you? 


JACQUES 
[Vehemently]: Yes! 


p’AIGUINES 
You’re wrong, I tell you! 


J ACQUES 
We'll see as to that. 


136 THE CAPTIVE 


p’ AIGUINES | 
Very well, I’ve warned you. Do as you like. . . 


J ACQUES 
I shan’t take long, don’t worry. If—contrary 
to what I think—what I have to say doesn’t apply 
to you, at least you’ll know to whom it should be 
repeated. When a man occupies in a girl’s life the 
place which the person I’m referring to occupies 
in Irene’s life—when he makes her do or lets her 
do what she has done in order not to be separated 
from him—he has no valid excuse, none, do you 
hear, for not marrying her. That is to say, if he’s 
free. If he isn’t, then he must take steps to become 
so, at no matter what cost and at the earliest possi- 

ble moment. Now you have it. 


p’ AIGUINES 
| Pause]: Is that all? 


J ACQUES 
Well, just about. For I shouldn’t like to think 
that the person in question were a man without 
honor. If that were the case then the duty of a 
friend is. clear; to warn Montcel to protect his 
daughter. But I hope it won’t be necessary to go to 
that extreme. 


p’ AIGUINES 
Have you quite finished this time? 


THE CAPTIVE 137 


JACQUES 


Yes. 


p’ AIGUINES 
Then, unless I’m crazy I must conclude that you 
believe me to be Mademoiselle de Montcel’s lover or 
something of the sort. That’s it, isn’t it? 


JACQUES 
That is the most likely supposition, yes... . 


p’ AIGUINES 

[Earnestly]: Well, then look at me and despite the 
high strung condition you seem to be in, try to see 
things clearly. I give you my word of honor that 
you’re mistaken. I am not and never have been any- 
thing but an acquaintance of hers, do you hear .. . 
not even a friend. You can believe me or not, that’s 
your affair. That’s all I’ve got to say. And please 
understand that if I’ve taken the trouble of replying 
to you at all instead of treating you like a lunatic 
and leaving here without a word, it’s solely because 
of our old friendship. 


: JACQUES 
[Impressed by pv’Atcuines’ truthful attitude, but 
despairing |: Then . . . who is it? 


p’ AIGUINES 
How should I know? . . . Has she a lover? 


138 THE CAPTIVE 


«J ACQUES 
Yes. 


p’ AIGUINES 
Did she tell you so? 


JACQUES 
She let me believe it—which amounts to the same 
thing. 


p’ AIGUINES 
Not always. You may be too hasty in drawing 
conclusions. 


JACQUES 
Well, it’s the only possible explanation. If it 
weren’t true, she’d have said so. She couldn’t have 
doubted for a moment that I was convinced of it. 


p’ AIGUINES 
[Pawse]: Well, in any case, I’m sorry, but I can 
give you no information. And if you’ve nothing 
more to say. ... 


J ACQUES 
You’re not going? 


p’ AIGUINES 
I must. I came as soon as I got your note but I’m 
leaving Paris in a few days and I’ve a great deal 
to do. 


THE CAPTIVE 139 


JACQUES 
Don’t go, I beg you! ‘You’re the only one who 
can help me find this man and I musé find him. 


p’ AIGUINES 
But since I know nothing— 


JACQUES 
That’s not possible! You must have some idea, 
some suspicion. Seeing her constantly . . . knowing 
the sort of life she leads . . . whom she sees... . 


p’ AIGUINES 
But you’re wrong. I don’t see her constantly. 
Once in a while she goes out with us—but I’ve much 
less in common with her than you seem to think— 


JACQUES 
How can that be? You’re almost the only peo- 
ple she ever sees—she spends all her time at your 
house. You can’t help knowing something! 


| p’ AIGUINES 
[Coldly, not looking at Jacaurs]: I know noth- 
ing. 


JACQUES 
I don’t believe you! 


140 THE CAPTIVE 


p’ AIGUINES 
See here! That’s quite enough— 


JACQUES 
I believed you a moment ago, believed you with- 
out proof, when you said you were not her lover. 
You were telling the truth then. Now, you’re not, 
youre lying. You’re lying so as not to betray the 
secret of some one who is probably your friend. 
That’s it, isn’t it? 


p’ AIGUINES 
I know nothing. 


J ACQUES 
Listen: just tell me that he’s a decent chap and 
that he’ll marry her—and I’ll ask you nothing more. 


p’ AIGUINES 
I have nothing to say. I know nothing. 


J ACQUES 
But don’t you understand that this poor girl must 
be saved, that she can’t be allowed to go more deeply 
every day into an affair that is ruining her!... 
And if it were only that! She has already begun to 
suffer. What’s going on? ... Has she felt that 
he wants to be rid of her? I don’t know. But what 


THE CAPTIVE 141 


I do know is that she spends her time locked in her 
room, sobbing. ‘That’s what she has come to! 


p’ AIGUINES 


Oh! ... [Gesture.] 


JACQUES 
That doesn’t worry you, eh? Well it does me! 
I’d give my life, do you hear, my life, to make her 
happy. 


p’ AIGUINES 
[Looks at him in surprise.]: You mean to say 
you love her? 


JJ ACQUES 
I am her friend. 


p’ AIGUINES 
Answer me. One doesn’t do what you have done 
out of mere friendship—nor go through with a 
thing like this pretended engagement. You love 
her? 


JACQUES 
Very well, then, I do love her. I’ve loved her for 
ten years, and I’ll never love any one else. What 
of it? 


142 THE CAPTIVE 


p’ AIGUINES 
You love her? Is that true? 


J ACQUES 
Yes! 


p’ AIGUINES 
Then for Christ’s sake, get away from here! Get 
away! It doesn’t matter where—as far as you can 
and stay away as long as you can! Don’t come back 
until you’re cured! That’s all I can say! 


JACQUES 
What do you mean? 


p’ AIGUINES 
I’m giving you some advice, good advice, that’s 


all. 


J ACQUES 
You’re going to explain to me exactly what you 
mean! Aren’t you? 


p’ AIGUINES 
[With hesitation |: Why—there’s nothing to ex- 
plain— You love this young woman and from what 
you tell me I gather she loves some one else. That 
being the case, the best thing to do is clear out. 
Don’t you agree with me? 


THE CAPTIVE 143 


JACQUES 
Clear out and leave her in the hands of some rot- 
ter, probably—some rotter who wanted her and so 
_made her believe he’d marry her. 


p’ AIGUINES 
Is she really so simple as that? 


J ACQUES 

A woman is always that the first time she’s in love. 
This is her first experience, I have reasons to know 
that. If she had loved any one before this, I’d prob- 
ably have been the man. I adored her and until 
last year I lived in the hope that some day she’d 
be my wife. And she would have been, do you hear, 
if this other man hadn’t appeared. I didn’t fight 
against it, there was no use. But since he’s been the 
means of making me unhappy, at least I want him 
to be the means of making her happy. 'To do that I 
must find him. 


p’AIGUINES 
You can do nothing for her. 


J ACQUES 
How do you know? 


p’ AIGUINES 
No one can do anything for her. 


14:4 THE CAPTIVE 


JACQUES 
Why? [p’Arcurnes gestures, but remains silent. ] 
Ah! You made a slip there! You’re not going te 
keep on pretending that you don’t know how things 
are! You can’t keep silent any longer! 


p’ AIGUINES 
Leave her alone! Don’t meddle in this, believe 
me! And don’t ask me anything more! 


JACQUES 
Look here, you don’t suppose I’m going to be 
satisfied with vague warnings that can have only 
one effect: making me more anxious than ever! I’m 
not asking for advice, ’m demanding a name! 


p’ AIGUINES 
[Abruptly]: The name of her lover? She has 
no lover! Now, are you satisfied? 


JACQUES 
What? 


p’ AIGUINES 
It might be better for her if she had one! 


JACQUES 
I don’t understand. 





Photograph by Florence Vandamm 


D’Aicuines: It is not only a man who may 
be dangerous to a woman. . . . In some cases 
it can be another woman. 

(BASIL RATHBONE and ARTHUR WONTNER) 





THE CAPTIVE 145 


p’ AIGUINES 
A woman can free herself from a lover—even if 
he’s the worst scoundrel living. She can get over 
it. Whereas in her case— 


JACQUES 
In her case, what? Finish! 


p’ AIGUINES 
Hers is quite another kind of bondage. . . . And 
that kind—[ Gesture. ] 


JACQUES 
Another kind of bondage? 


p’ AIGUINES 
Yes. It is not only a man who may be dangerous 
to a woman. . . . In some cases it can be another 
woman. 


J ACQUES 
Another woman? 
p’ AIGUINES 
Yes. 
JJ ACQUES 


What are you talking about? You mean to say 
it’s on account of a woman that Irene refused to go 
with her father to Rome? 


146 THE CAPTIVE 


p’ AIGUINES 


J ACQUES 
It’s on account of a woman that she spends her 
time crying? 


pb’ AIGUINES 


Yes. 


J ACQUES 
What kind of story is this? 


p’ AIGUINES 
The kind of story that often happens—regard- 
less of what men think. The kind of story that 
people don’t believe for the most part, or which 
makes them smile, half amused and half indulgent. 


JACQUES 
But it’s impossible! Irene is much too well bal- 
anced. 


p’ AIGUINES 
What does that prove? 


JACQUES 
Are you positive of this? 


THE CAPTIVE 147 


p’ AIGUINES 


Yes. 


J ACQUES 
Do you—know this woman? 


p’ AIGUINES 
Yes. [Looks at Jacaurs quickly, and sees that 
the latter is not observing him. A great sadness 
crosses his face.| I know her. 


J ACQUES 
[ After a moment |: I am dumbfounded— 


p’ AIGUINES 
And a little relieved . . . aren’t you? 


JACQUES 


Well, good Lord! After what I had feared! ... 


p’ AIGUINES 
So you’d prefer—? [Pause.|] Well, you’re wrong 
to prefer it! 


JACQUES 
You’d rather she had a lover? 


p’ AIGUINES 
In your place? Yes! A hundred, a thousand 
times rather! 


148 THE CAPTIVE 


JACQUES 
Are you mad? 


p’ AIGUINES 

It’s you who are mad. If she had a lover I’d say 
to you: Patience, my boy, patience and courage. 
Your cause isn’t lost. No man lasts forever in a 
woman’s life. You love her and she’ll come back to 
you if you know how to wait. . . . But in this case 
I say: Don’t wait! 'There’s no use. She’ll never 
return—and if ever your paths should cross again 
fly from her, fly from her . . . do youhear? Other- 
wise you are lost! Otherwise you'll spend your exist- 
ence pursuing a phantom which you can never over- 
take. One can never overtake them! ‘They are 
shadows. 'They must be left to dwell alone among 
themselves in the kingdom of shadows! Don’t go 
near them . . . they’re a menace! Above all, never 
try to be anything to them, no matter how little— 
that’s where the danger lies. For, after all, they 
have some need of us in their lives . .. it isn’t 
always easy for a woman to get along. So if a man 
offers to help her, to share with her what he has, 
and to give her his name, naturally she accepts. 
What difference can it make to her? So long as he 
doesn’t exact love, she’s not concerned about the 
rest. Only, can you imagine the existence of a man 
if he has the misfortune to love—to adore a shadow 


THE CAPTIVE 149 


near whom he lives? Tell me, can you imagine 
what that’s like? Take my word for it, old man, 
it’s a rotten life! One’s used up quickly by that 
game. One gets old in no time—and at thirty-five, 
look for yourself, one’s hair is gray! 


JACQUES 
Do you mean—? 


| p’ AIGUINES 

Yes. And I hope you'll profit by my example. 
Understand this: they are not for us. They must be 
shunned, left alone. Don’t make my mistake. Don’t 
say, as I said in a situation almost like yours, 
don’t say: “Oh, it’s nothing but a sort of ardent 
friendship—an affectionate intimacy ... nothing 
very serious . . . we know all about that sort of 
thing!” No! We don’t know anything about it! 
We can’t begin to know what it is. It’s mysterious 
—terrible! Friendship, yes—that’s the mask. Un- 
der cover of friendship a woman can enter any 
household, whenever and however she pleases—at 
any hour of the day—she can poison and pillage 
everything before the man whose home she destroys 
is even aware of what’s happening to him. When 
finally he realizes things it’s too late—he is alone! 
Alone in the face of a secret alliance of two beings 
who understand one another because they’re alike, 


150 THE CAPTIVE 


because they’re of the same sex, because they’re of 
a different planet than he, the stranger, the enemy! 
Ah! if a man tries to steal your woman you can 
defend yourself, you can fight him on even terms, 
you can smash his face in. But in this case—there’s 
nothing to be done—but get out while you still have 
strength to do it! And that’s what you’ve got to do! 


JACQUES 
. . . Why don’t you get out yourself? 


p’ AIGUINES 

Oh, with me it’s different. I can’t leave her now. 
We’ve been married eight years. Where would she 
go? ... Besides it’s too late. I couldn’t live with- 
out her any more. What can I do—I love her? ... 
[Pause.] You’ve never seen her? [Jacaues shakes 
his head.| ‘You’d understand better if you knew her. 
She has all the feminine allurements, every one. As 
soon as one is near her, one feels—how shall I say 
it—a sort of deep charm. Not only I feel it. Every 
one feels it. But I more than the rest because I 
live near her. I really believe she is the most har- 
monious being that has ever breathed. . . . Some- 
times when I’m away from her, I have the strength 
to hate her for all the harm she has done me.. . 
but, with her, I don’t struggle. I look at her... 
I listen to her . . . I worship her. You see? 


THE CAPTIVE 151 


J ACQUES 
[Pursuing an idea]: Tell me . . . why is Irene 
suffering? 


p’ AIGUINES 
I don’t know. [Rises.] You don’t suppose I’m 
confided in, do you? She is suffering probably, 
as the weak always do, struggling with a stronger 
nature until they give in. 


J ACQUES 
You think Irene is weak? 


p’ AIGUINES 
Compared to the other? Oh, yes. [Pawse.] She 
is probably still struggling. 


JACQUES 
Ah! [Pause.] So that’s why she is unhappy? 
[ Rises. | 


p’ AIGUINES 
For that reason—or some other. She has many 
to choose from. 


J ACQUES 
You mean—? 


p’ AIGUINES 
Why shouldn’t she suffer? I suffer, don’t I? 


152 THE CAPTIVE 


JACQUES 
That’s not the same thing. 


p’ AIGUINES 

You think so, do you? Well, on the contrary, I 
believe it’s very much the same thing. There’s only 
one way to love, you see, and one way to suffer. 
It’s the same formula for everybody—and in that 
respect she and I have been in the same boat for 
some time. Only she hasn’t got used to it yet—and 
I have. 


JACQUES 
I don’t quite follow you. 


p’ AIGUINES 
Haven’t you heard any mention of a cruise? 


oJ ACQUES 
A cruise? 
p’ AIGUINES 
Yes. In the Mediterranean ... on a yacht, an 
American yacht? 
J ACQUES 


No. [Pause.] Is she to be one of the party? 


THE CAPTIVE 153 _ 


p’ AIGUINES 
I idee know. 'That’s why I’m asking if she spoke 
of it. 


| JACQUES 
She never speaks to me of anything. 


p’ AIGUINES 
In her place—I’d refuse to go. 


«J ACQUES 
You would? 


p’ AIGUINES 
I doubt that she’ll be able to refuse. However— 
that’s her affair. What matters most is you. What 
are you going to do? Will you take my advice and 
go away for a while? 


JACQUES 
I don’t know yet. I’ll think it over. 


p’ AIGUINES 
Don’t wait, Jacques. Believe me. 


JACQUES 
It’s not as dangerous for me as you think. I al- 
most never see her. 


154 THE CAPTIVE 


p’ AIGUINES | 
What difference does that make? When she needs 
you, she knows where to find you—you’ve seen that 
for yourself. That is how one can get caught, even 
after one has been warned. Remember what I’m 
telling you. 


JACQUES 
But where can I go? 


p’ AIGUINES 
Anywhere—so Jong as it’s far away. [ Pause. | 
Have you still got your business interests in Mo- 
rocco? 


J ACQUES 
Yes, but— 


p’ AIGUINES 
Then go back there for a while. At that dis- 
tance she won’t be able to turn to you so easily. 


JACQUES 
If you knew her as well as I do, you’d realize that 
you’re needlessly alarmed. She turned to me for 
help in a moment of frenzy. But she’s much too 
proud to do so again. Besides, I don’t see how I 
could help her any more. 





THE CAPTIVE 155 


p’ AIGUINES 
How can you tell? [Pause.] If you don’t want 
to go away, then find a woman that is attractive to 
you, areal woman. See if she can’t make you forget 
the other one. 


J ACQUES 
I’ve already tried that. 


p’ AIGUINES 

And it didn’t succeed? [Jacaurs shakes his 
head.| You see my fears were not so exaggerated 
as you thought. There is nothing for you to do 
but go away—and without a moment’s delay. Now 
it’s up to you. [Picks up his hat and gloves and 
offers Jacques his hand. A bell is heard.] Are you 
expecting some one? 


-) ACQUES 


No. 


p’ AIGUINES 
Well, anyhow, I must be off—good-by, Jacques. 
[They shake hands.]| 


JACQUES 


Thanks. ... 


p’AIGUINES 
Oh! [Gesture.] If only I could have convinced 
you! [GrorcEs enters.] 


156 THE CAPTIVE 


J ACQUES 
What is it? 


GEORGES 
Mademoiselle de Montcel would like to know if you 
can see her. 


J ACQUES 


What! 


GEORGES 
And I said that I would see if you were in, mon- 
sieur. 


J ACQUES 
[Glances at p’A1cuinrs.] Ask her to wait in the 
salon, then close the door that gives into the hall. 


GEORGES 
Very good, monsieur. 


J ACQUES 
It’s Mademoiselle Irene? 


GEORGES \ 
Yes, monsieur. 


JACQUES 
Oh! Show Monsieur d’Aiguines out when he leaves. 
[Grorcrs exits.] Well! This is an unexpected 
visit ! 





THE CAPTIVE 157 


p’ AIGUINES 
Tell me—you’ve no intention, I hope, of repeating 
a word of what we’ve said to Mademoiselle de Mont- 
cel, have you? 


JACQUES 
Do you suppose she’d ever forgive me for know- 
ing? 


p’ AIGUINES 

Right! And now—good luck, old man. Remem- 
ber—she can never belong to you no matter how you 
try. They’re not for us. [He exits and Jacaurs 
stands a moment in the doorway, then crosses to 
salon door and opens it.| Come in! 

IRENE 
[Entering]: You’re sure I’m not disturbing you? 


[Closes door. | 


JACQUES 
Very sure. 


IRENE 
You’d tell me if I were, wouldn’t you? 


JACQUES 
I'd tell you. 


158 THE CAPTIVE 


IRENE 
Then may I stay? It won’t bother you? 


J ACQUES 
It won’t bother me. 


IRENE 
[She sits on the sofa]: Were you surprised when 
you heard it was I? 


JACQUES 
[Sitting at his desk and lighting the lamp]: A 
little, yes. 


IRENE > 
You wondered what I had come here for, didn’t - 
your 


J ACQUES 
I thought that no doubt there was something you 
wanted to talk to me about. 


IRENE 


There is. 


J ACQUES 
Well, I’m listening. 


IRENE : 
[Smiling]: Oh, please not like that. Don’t speak 


THE CAPTIVE 


159 


to me like a lawyer to his client. Be kind, affec- 


tionate! . . . Do change that severe look! 


J ACQUES 
Why do you say I have a severe look? 


TRENE 


You always have a severe look, nowadays. 


J ACQUES 
Yow re mistaken— 


IRENE 


Be sweet, Jacques, won’t you? Like old times! 


I’m terribly in need of your sympathy. 


J ACQUES 


Really? 


| IRENE 
Why do you say really like that? 


JACQUES 
For no reason. Go on, continue. 


IRENE 


Are you surprised I ask you to be kind... 


be affectionate . . . to me? 


to 


160 THE CAPTIVE 


J ACQUES 
I’ve stopped being surprised by you, my dear— 


IRENE 
Don’t be cruel! . . . I’ve given you the right to 
be, I don’t forget that! But just the same I hope 
you won’t be, do you mind? Not to-day, anyway. 
[She turns her face away to hide tears. | 


J ACQUES 
[More gently]: What’s the matter? 


IRENE 
Nothing. Pay no attention. [Pause.] Jacques, 
I want you to tell me something. 


oJ ACQUES 
What? 


IRENE 
Since I asked you to—since you agreed to play 
this part to my father—have you no longer as much 
affection for me? 


JACQUES 
Why do you ask me that? 


IRENE 
Because I must know. 


SS 


THE CAPTIVE 161 


JACQUES 
I have as much affection, only— 


Trene 
Only? ‘ 


J ACQUES 
It is no longer the same affection. I used to ad- 
mire you. Now, I pity you. 


IRENE 
[ Pensive, without looking at him]: And you de- 
spise me? 


J ACQUES 
I pity you. 
IRENE 
You’re right . . . I am to be pitied. But I can 


still count on you as a friend, can’t I? 


oJ ACQUES 
Yes. 


IRENE 
I need to believe that, to feel sure of it. You 
don’t know, Jacques, how much you mean to me. 


JACQUES 
As much as that? [Rises.] 


162 THE CAPTIVE 


IRENE | 
Please, no sarcasm. You say you pity me. Then 
prove it. 


J ACQUES 
How? 
, IRENE 
Oh! . .. By showing me a little tenderness and 


being a little lenient, that’s all. 


J ACQUES 
Aren’t you happy? 


IRENE 
Happy? 
J ACQUES 
Yes. 
IRENE 


There are times when I wish I were dead. 


JACQUES 
Well, that is a way out, but— 


IRENE 
You don’t believe me? 





THE CAPTIVE 163 


J ACQUES 
I hope you’re exaggerating—if one had to kill 
oneself every time he was unhappy— 


IRENE 
Oh! I’m not thinking of killing myself. It takes 
courage to die like that. And I haven’t even any 
courage left. . . . I have nothing left. ... 


JACQUES 
Yet, you got what you wanted. You had to stay 
in Paris at any cost. Well, here you are— Oh, 
talking of that, I meant to tell you that I must write 
to your father. 


IRENE 
To father? 


JACQUES 
Yes. It was understood that I was to let him 
know as soon as possible what my intentions were 
and I promised to do it. He’s already been gone a 


month and I haven’t written yet. ... It’s time I 
did. 
IRENE 
Must you? 
JACQUES 


T’ll tell him that the business matters that were 
worrying me at the time of his departure are now 


164 THE CAPTIVE 


in such bad shape that I’m in no position to make 
plans for the future— Does that seem all right te 
your 


IRENE 
Just as you wish. 


JACQUES 
ll add that I am going to Morocco to attend 
directly to my interests there. 


IRENE | 
[With great alarm.] But it isn’t true, is it— 
you’re not going away? 


JACQUES 
Yes, probably. 


IRENE 
But why? Is it really because of business matters? 


JACQUES 


No. 


IRENE 
Well, then? ... Oh! You’re not going alone? 


J ACQUES 
~ What do you mean, not alone? 





THE CAPTIVE 165 


IRENE 
Is some one going with you? 


J ACQUES 


No, nobody. 


IRENE 
Then why must you go? 


: J ACQUES 
I need achange. This climate’s not agreeing with 
me. I should have gone long ago—a year ago when 
you came back from Italy. Perhaps I’d have been 
better by now. 


IRENE 
It’s because of me that you’re going. 


JACQUES 
Good Lord! 
IRENE 
Is it true? 
JACQUES 


Don’t you think it’s about time that I considered 
my own peace of mind a little? After all I can’t 
spend my life loving you and beginning to suffer 
all over again each time I see you. 


166 THE CAPTIVE 


IRENE ; 
Then you still love me, Jacques? Is it true? 


JACQUES 
Does that surprise you? 


IRENE 
After what you must have believed of me lately, 
I was certain that was over . . . that you didn’t love 


me any more. I felt it,—but I hoped it wasn’t true. 


JACQUES 
You hoped it wasn’t true? 


IRENE 


Yes. 


JACQUES 
You hoped that I still loved you? 


IRENE 


Yes. 


J ACQUES 
[Pause]: I can’t understand you. 


IRENE : 
[Looking away from him]: Don’t go away, 
Jacques. 


THE CAPTIVE 167 


JACQUES 
What do you say? 


IRENE 
Don’t go away. [Jaceuers looks at her, stupe- 


fied. | 


J ACQUES 
Ah, yes! You’re afraid your father’ll send for 
you when he receives my letter and learns I’m no 
longer here, eh? Well, I’m sorry, but this time you'll 
have to manage without me. You can do what you 
like and how you like, but I shall write to your 
father to-night. 


IRENE 
[Shrugging her shoulders|: Write all you want 
to. I don’t care! 


J ACQUES 
[ Sarcastically]|: Really! 


IRENE 
Absolutely, I swear to you! 


J ACQUES 
[Puzzled]: 'Then why don’t you want me to go 
away? 


168 THE CAPTIVE 


IRENE . 
Oh! . . . for no reason at all. [She rises. ]} 


JACQUES 
Sit down again and answer me. 


IRENE 
It’s no use. Go, go away—since you’re in such 
a hurry to forget me! Go! 


JACQUES 
Really, Irene, what is this game you’re playing 
now? 


IRENE 
Please forgive me. I don’t know what I’m saying 
any more. Oh, Jacques, I’m so miserable! [She 
falls into a chair and cries. | 


J ACQUES 
[ Touched, going to her|: What’s the matter? 


IRENE 
[Clinging to him]: You mustn’t leave me. I’m 
so alone, so wretched! Jacques! Only you can save 
me! 


J ACQUES 
But what do you want me to do? 


. a 
a a a 


THE CAPTIVE 169 


IRENE 
Protect me! Shield me! 


JJ ACQUES 
Shield you? 
IRENE 
Yes. 
J ACQUES 


I assure you, Irene, I’m doing my best to under- 
stand you, but really— 


IRENE 
I know, I must seem crazy. Well, I am crazy! 
You have got to treat me like a crazy person—a sick 
person—and take care of me, that’s all. If you 
don’t come to my rescue right away—it will be too 
late! 


JACQUES 
Are you in danger of something? 


IRENE 


Yes. 


J ACQUES 
An imminent danger? 


170 THE CAPTIVE 


IRENE 


JACQUES 
Can’t you tell me what it is? 


IRENE 
[ After hesitating]: It’s about a cruise, my going 
away—and I mustn’t go. I don’t want to go—if 
I do, it’s all over. I’d be lost! 


J ACQUES 
What is forcing you to go? 


IRENE 
‘Ah! Iam afraid of myself. 


JACQUES 
Then why don’t you take a train to Rome with 
Gisele to join your father? 


TRENE 
I had thought of that. . . . But at the last min- 
ute I wouldn’t go—I wouldn’t have the strength— 


JACQUES 
Yes, you would! I'll help if you wish. 


THE CAPTIVE De 


IRENE 


[Shaking her head]: Or else I’d come back. 


J ACQUES 
No! 


IRENE 
You see, there are times in which I can see clearly, 
such as now, when I am sane and free to use my own 
mind. . . . But there are other times when I can’t, 
when I don’t know what I’m doing. It’s like—a 


prison to which I must return captive, despite my- 
self. ?’m—I’m— 


J ACQUES 
Fascinated ? 


TRENE 
Yes! I need some one to watch me, to hold me 
back. Some one who has understood or guessed 
certain things—that I can’t talk about, that I can 
never tell! 


J ACQUES 
Is that what you expect of me? How can I re- 
strain you from doing what you want to do? Have 
I the least influence over you? Have you ever 
listened to my advice? Please remember that it was 
only a month ago you rejected it. 


172 THE CAPTIVE 


IRENE 
It’s no longer the same. 


J ACQUES 
What is no longer the same? 


IRENE 
Many things. I will listen to you now. I want 
to listen to you. 


J ACQUES 

But you won’t be able to! You won’t be allowed 
to! What weapons have I to fight with? What can 
I add to what you yourself have said? You acknowl- 
edge that this cruise would be your ruin? What 
can I add to that? And then do you imagine for one 
moment that advice from me would hold you back 
during one of those hours of insensibility you speak 
of? [Irene shakes head.| You see! ... And 
surely you don’t expect me to hold you by force, 
do you? So, what can I do for you? 


IRENE 
Everything. You can save me. 


J ACQUES 
How? 
IRENE 
You are the only one who can save me— 


THE CAPTIVE 173 


JACQUES 
Why? 


IRENE 
Because you love me— 


JACQUES 

It’s for that very reason that I can do nothing. 
As soon as I saw you miserable, I’d be useless. You 
can’t take as your trained nurse a man who loves 
you! 


IRENE 
Not as a trained nurse— 


JACQUES 
Well, what then? 


IRENE 
[Looking at him]: Jacques—would you like me 
to give myself to you? © 


J ACQUES 
Irene! 
IRENE 
Would you? 
J ACQUES 


Don’t! 


174 THE CAPTIVE 


IRENE 
Jacques? 


J ACQUES 
So that’s it. That’s what you’ve come to offer 
me? 


IRENE 
[Lowering head]: Yes. 


J ACQUES 
My poor Irene. 


IRENE 
You don’t want me? 


JACQUES 
[Faces her]: But I love you! Don’t you under- 
stand what that means? 


IRENE 
Of course— 


J ACQUES 
[Forcibly]: You offer me your body, your poor 
body as a pledge, is that it? You want to soil it 
with me so that you can tell this woman— 


os ae 
ON gd a) ne eS 


THE CAPTIVE 175 


IRENE 
[With a cry]: Jacques! 


J ACQUES 

[Stell moved]: Yes, I know! I’ve guessed it! 
What of it? I suppose you want to tell her that 
you’ve given yourself to a man, so that she’ll leave 
you alone? But as for me, me—it’s not your body 
I want. It’s you, all of you, don’t you see? Can 
you give me that—tell me? Can you give that to 
some one you don’t love? For, after all, you don’t 
love me, do you? You don’t love me? 


IRENE 
[With despair]: I want so much to love you. 
[She bends over and sobs, her head on his breast. | 


J ACQUES 
[ Distraught]|: Poor child! 


IRENE 
[Through her tears|: You think that I don’t 
know it would mean my happiness? I know only 
too well that the place I really belong is here against 
your shoulder. Why won’t you let me stay here? 


JACQUES 
Oh! Irene,—what you are asking is too terrible. 


176 THE CAPTIVE 


IRENE | 
Why? ... Perhaps I would learn to love you? 


JACQUES 
Afterwards, you mean? No, my dear... . 


IRENE 
But once you told me that I would. 


JACQUES 
Ah! Because at that time I thought that only 
your pride stood between us. I didn’t know then all 
that separates us! 


IRENE 
But when you will have cured me... . 


J ACQUES 
Do you really believe that I could? 


IRENE 
Yes, if you’re very kind, very indulgent, if you 
have a little patience. 


J ACQUES 
But, you see I love you too much for that. 


IRENE 
Then ... you refuse me? ... Is that it, Jacques? 
. . . What is going to become of me! 


Bi he Bo Re EE ee a ae nN 


THE CAPTIVE 177 


J ACQUES 
What would become of me? I’ve been hurt enough 
as it is. 


IRENE 
But that’s over, I won’t hurt you any more. How 
could I hurt you when it will be you who have saved 
me? 


J ACQUES 
- That means nothing. You wouldn’t do it on pur- 
pose, naturally. 


IRENE 
Jacques, look at me. Look in my eyes. [Pause.] 
I will give you everything a man can expect from the 
woman he loves. 


JACQUES 
[ Disturbed]: Irene! I have dreamed of that too 
long. 


IRENE 
Take me in your arms. I am yours, Jacques, all 
of me... 


J ACQUES 
You don’t realize what you’re promising. 


178 THE CAPTIVE 


IRENE 


Ves; 1 do, 


J ACQUES 
There is still time . . . you can still go. 


IRENE 
I am not afraid. 


JACQUES 
You really wish it? Are you sure that you do? 


IRENE 


Yes. 


JACQUES 
[Taking her in his arms]: Irene? . . . Is it true? 
[He starts to kiss her on the mouth. As Irene be- 
holds his face filled with longing, she makes an 
abrupt movement of aversion. He lets her go.] 
You see? 


IRENE 
No, no—forgive me! 

[This time tt is she who offers her lips to him. Then, 
her nerves giving way, she lets her head fall on 
his shoulder, struggles with herself a moment, 
and breaks into tears. ] 


Photograph by Florence Vandamm 


JacquEs: You see? 
(BASIL RATHBONE and HELEN MENKEN) 





THE CAPTIVE Vig 


J ACQUES 
[In despair]: Irene! 


IRENE 
No, no!—Pay no attention!—It doesn’t mean 
anything. . . . It’s all over! You will keep me with 
your Always? 
JACQUES 


Tl try. 
THE CURTAIN FALLS 


THE CAPTIVE 


ACT THREE 


Scene: The same as Act Two. A year after. 

JacauEs ts seated alone, smoking and meditating. 
Grorcss, his man, enters at back, bringing a letter 
which he gives to Jacaurs. The latter inspects the 
envelope and seems surprised. 


J ACQUES 
Who brought this letter? 


GEORGES 
A maid, monsieur. She is waiting for an answer. 
{He walks to back and waits near the door. JacQuEs 
opens and reads the letter. After a few mo- 
ments of thought, he rises, crosses to his desk, 
takes a sheet of paper and starts writing. | 


JACQUES 
For what time did madame order the car? 


GEORGES 
Three o’clock, monsieur. 
[JAcaues looks at watch, finishes letter, slips it into 


an envelope and hands it to Grorcxs. | 
180 


THE CAPTIVE 181 


JACQUES 
There. 

[GrorcEs goes out. JacauEs again picks up the 
letter he has received, re-reads it, then carries 
at to his nose, inhales its scent and smiles. 
IRENE appears at the right. Jacausrs puts let- 
ter in his pocket. Her hat is on and she is ready 
to go out. She has in her hand a bundle of 
samples of materials for hangings. | 


IRENE 
You didn’t tell me which of these samples you 
preferred. This one—this—or that? 


J ACQUES | 
It’s for your own room. You’d better choose it 
yourself. 


IRENE 
But I want you to like it. 


J ACQUES 
I'll like whichever one you choose. 


IRENE 
Well, at least you might tell me which one you 
prefer. 


JACQUES 
But I approve your choice in advance— 


182 THE CAPTIVE 


IRENE 
Oh! How annoying of you! 


J ACQUES 
Are you going out? 


IRENE 
Yes, I must go to the decorator’s, and to the 
painter’s. Then at three-thirty, I have an appoint- 
ment at Praxine’s studio to have another look at the 
little landscape that I saw the other day. Don’t 
you want to come? 


JACQUES 
I can’t. 


IRENE 
You'll have to see it some time. 


J ACQUES 
What for? 


IRENE 
I’m certainly not going to buy a picture as ex- 
pensive as that without your having seen it. 


J ACQUES 
You don’t need my advice. I don’t know any- 
thing about painting. If you like the picture, buy 
it, that’s all. 


THE CAPTIVE 183 


IRENE 
Can’t you really come? I'll pass by here with 
the car and pick you up. It won’t take more than 
twenty minutes altogether. 


J ACQUES 
I can’t, I tell you. I’m waiting for some one. 


IRENE 


Who? 


JACQUES 
Oh, just—a caller. 


IRENE 
At what time? 


JACQUES 
At half-past three. 


IRENE 
Will it take long? 


JACQUES 
That I don’t know. [Telephone rings. He rises, 
takes up receiver.| Hullo... yes... who is it 
please? ... Oh! Just a minute. [To Irenez.] 
Praxine wants to speak to you. 


184 THE CAPTIVE 


IRENE | 
[At telephone]: Hullo . . . Oh, hullo, how do 
you do? . .. Why of course I haven’t forgotten 
. at half-past three, yes. ... All right!... 
What? . . . No, he is so sorry, but he has an ap- 
pointment and won’t be able to come. I'll be there. 
[She hangs wp recetver.]| He asked me to be on 
time, because he has to leave. [Pause.] Well then? 


J ACQUES 


Well then what? 


IRENE 
May I really buy the picture if I still like it as 
much as I did? 


J ACQUES 
Why, of course. 


IRENE 
You’re a darling. But, you know, I really think 
it’s a good buy. Praxine never gets less than twenty- 
five thousand francs for his smallest canvases and he’s 
giving me this for fifteen thousand—just because 
it’s I. 


JACQUES 
That’s splendid. 


THE CAPTIVE 185 


IRENE 
I do so hope you’ll like it, but I warn you, it’s 
extremely modern. You may think it’s horrible— 


JACQUES 
Of course I won’t. What time will you be back? 


IRENE 
Oh, not late. I have to stop and send some books 
to Gisele; she writes me she has nothing to read. 


That’s all. J’ll be back here for tea. 


J ACQUES 
If by any chance the person I’m expecting should 
still be here when you return, would you mind not 
coming in? 


IRENE 
No, of course not. 


JACQUES 
I’d rather you didn’t meet. 


IRENE 


Oh! Why not? 


JACQUES 
I don’t think either you or she would enjoy it 
much. 


186 THE CAPTIVE 


IRENE | 
Ah! [Pause.] Can’t you tell me who it is? 


J ACQUES 
Does it interest you? 


IRENE 
Well, really !—After what you’ve just told me— 


JACQUES 
It’s a very charming woman, towards whom I’ve 


behaved very shabbily. 


IRENE 
[Searching in her mind]: A woman towards 
whom—Madame Meillant? 


JACQUES 
Exactly. 
IRENE 
No? How funny! 
J ACQUES 
Isn’t it? 
IRENE 


She’s coming to see you? 


BP Caen aes or ‘ 


THE CAPTIVE 187 


J ACQUES 
I wrote, asking her to call. Whether she’ll come 
or not, I don’t know. 


IRENE 
But why is she coming? 


JACQUES 
Here. [He hands her the letter he has just re- 
cetved. | 


IRENE 
[After having read it |: What are the letters she 
mentions? 


J ACQUES 
The letters she wrote me while—that she wrote me 
last year. 


: IRENE 
Hadn’t you given them back to her? 


J ACQUES 
No. We left Paris in such a hurry a year ago 
that I didn’t have time, and since our return I haven’t 
given it a thought. 


IRENE 
[Smiling]: Poor thing. [Gives him back letter. ] 


188 THE CAPTIVE 


J ACQUES 3 
[Putting tt on the desk]: You don’t mind my 
receiving her here? 


IRENE 
Why no, not at all. 


JACQUES 
That’s what I thought. 


IRENE 


Why should I mind? 


JACQUES 
For no reason, that’s true. 


IRENE 
I have perfect confidence in you. 


oJ ACQUES 
Of course. 


IRENE 
I suppose you wanted to give her the letters your- 
self, and you’re quite right. 


JACQUES 
Naturally. 


THE CAPTIVE 189 


IRENE 
[Looking at him]: What’s the matter? 


JACQUES 
Nothing. 


IRENE 
You look annoyed that I should be taking this so 
amiably. 


JACQUES 
I? On the contrary, I’m delighted. 


IRENE 
Would you rather have me jealous? 


JACQUES 
I repeat that I’m delighted. 


IRENE 
I have no reason for being jealous, have I? 


J ACQUES 
No! Absolutely—none. 


IRENE 
Well, then? 


JACQUES 
Jealousy in your case would certainly be uncalled 
for. 


190 THE CAPTIVE 


IRENE 
Meaning what? 


JACQUES 
Simply, that just as jealousy’s the most natural 
thing in the world when one’s in love, it becomes 
meaningless when one isn’t, that’s all. 


IRENE 
So—I don’t love you? 


JACQUES 
Of course you don’t love me. 


IRENE 
How absurd! 
J ACQUES 
What is absurd? 
IRENE 
To say that. 
JACQUES 


Not at all, why is it? 


IRENE 
Come now, what are you reproaching me about? 


THE CAPTIVE 191 


J ACQUES 
I’m not reproaching you about anything. 


IRENE 
Have you any fault to find with me? 


J ACQUES 
No. Go along and do your errands. Please! 


IRENE 
No, let’s clear this up. I’d prefer that. [Removes 
her coat and puts it on divan.] 


JACQUES 
What for? It’s so useless. 


IRENE 
If I’ve disappointed you in any way, tell me. 


J ACQUES 
In no way. 


IRENE 
Don’t I do all that I can to make you happy? 


J ACQUES 
All that you can. 


192 THE CAPTIVE 


IRENE 
Have I had any other thought than your happi- 
ness, since I’ve been your wife? Has my life had 
any other purpose? Don’t I always ask myself, be- 
fore doing anything, if you’ll be pleased and whether 
you’ll approve? 


JACQUES 
Even in choosing your bedroom curtains,—quite 
right. 


IRENE 
Don’t make fun of me, please. 


J ACQUES 
I’m not making fun of you. You’re an attentive, 
devoted and faithful wife. What more can I ask? 
If all that doesn’t make me happy, I must be very 
hard to please. 


IRENE 
I don’t understand you any more, Jacques. 


J ACQUES 
I know it! That’s why all this talk can accom- 
plish nothing. 


IRENE 
| Pause |: Then—then you’re not happy? 


THE CAPTIVE 193 


J ACQUES 
In any case, it’s not your fault. I repeat that I 
have no reproaches to make. 


IRENE 
[ Wearily]: But what can I do, then? 


JACQUES 
Nothing. There’s nothing to be done. 


IRENE 
Yet you have my every thought. You know that, 
don’t your 


J ACQUES 
No. I don’t know that at all. 


| IRENE 
You don’t? 


JACQUES 
How do you expect me to know what your 
thoughts are? They’re yours. They’re no business 
of mine. 


IRENE 
But I hide nothing from you. Nothing that 
might disturb you—I swear it. 


194 THE CAPTIVE 


JACQUES | 
As to that— [A gesture of futility.] 


IRENE 
You don’t believe me? Well, then, question me. 
I’d much rather have that. 


J ACQUES 
No, no—no questions! Let’s leave in the dark 
what was meant to be in the dark. 


IRENE 
No! Since we’ve come to this, I want you to 
question me! Perhaps you'll see how unjust you 
are when you know everything. 


JACQUES 
Then there are things to know? 


IRENE 
Only things that can reassure you. 


JACQUES 
Tell me. I’m listening. [Pawse.] Have you seen 
her again? 


IRENE 


No. 





THE CAPTIVE 195 


J ACQUES 
Has she telephoned you? 


IRENE 
No. 
JACQUES 
Written? 
IRENE 
Yes. 
JACQUES 
When? 
IRENE 


Shortly after our return to Paris. [Pause.]} 
Twice. 


JACQUES 
Where are the letters? 


IRENE 
[Simply]: I sent them back unopened. 


JACQUES 
Unopened? 
IRENE 
Word of honor. 
JACQUES 


How did you send them back? 


196 THE CAPTIVE 


IRENE | 
By the person who brought them. 


JACQUES 7 
How does it happen that I didn’t know about it? 


IRENE 
You weren’t in. You had gone out. 


J ACQUES 
Both times? 
IRENE 
Yes. 
JACQUES 


They probably waited for me to leave before 
bringing them! 
IRENE 


Perhaps. I don’t know. 


JACQUES 
Then you’ve no idea what she wanted of you? 


TRENE 
Oh,—to see me again, no doubt. 


J ACQUES 
What makes you think that? 


THE CAPTIVE 197 


IRENE 
I’m just supposing it. 


JACQUES 
Is that all? 
IRENE 
No. 
JACQUES 
What else? 
IRENE 


A few days after the second letter came her maid 
spoke to me in the street. 


JACQUES 
Perfect! 


IRENE 


It wasn’t—she, who had sent her. 


J ACQUES 
[Ironically]: Really? 


IRENE 
No. She was very ill. 


J ACQUES 


[Same tone]: Well, well. 


198 THE CAPTIVE 


IRENE | 
She’d been ill a long time. She had just had a 
relapse. All that night she’d been delirious. It 
seems . . . that she had asked for me several times. 
... So the maid thought it best to come and tell 
me. 


J ACQUES 
And then? What did you do? 


IRENE 
Nothing. 
JACQUES 
Nothing? 
TRENE 


[Shaking her head]: I merely asked the maid to 
bring me news of her the next day. ‘The next day 
the news was better. I told her not to come back, 


JACQUES 
[Pause]: And then? 


IRENE 
That’s all. 


JACQUES 
Absolutely ? 





THE CAPTIVE 199 


IRENE 


Yes. 


JACQUES 
Why haven’t you told me this before? 


IRENE 
I didn’t want to worry you unnecessarily. You’re 
so sensitive, you’d have been agitated despite any- 
thing I could say. I decided to wait a few days and 
then tell you. 


JACQUES 
Why a few days? 


IRENE 
She’s going to Switzerland for several months 
to rest. I wanted to wait until she had gone. 


JACQUES 
Who told you she was going? The maid? 


Irene 
Yes. [Pause.] Aren’t you a little reassured now? 


J ACQUES 
I wasn’t worried. 


IRENE 
You know you can have confidence in me? 


200 | THE CAPTIVE 


J ACQUES 
But I’ve always had confidence in you, Irene. I 
never doubted that when the time came, you would 
act as you did. You promised when you married me 
never to see that woman again. I was certain that 
you never would see her again. 


IRENE 
Then what’s on your mind? Why aren’t you 
happy? 
J ACQUES 
And you, are you happy? 


IRENE 
I? [Pause.| Of course I’m happy. 


JACQUES 
Oh! Come now! 


IRENE 
[Going toward him]: But really, Jacques! .. . 
Haven’t I everything to make me happy? We have 
all we need, we get along so well—you’re kindness 
and generosity itself to me. What more can I wish 
for? 


JACQUES 
Why do you try to make me believe that nothing 
is lacking in your life? 


THE CAPTIVE 201 


IRENE 
Because it’s true! 


JACQUES 
No, it’s not true!— You’re not yet thirty and 
I’m not thirty-five. Happiness, at our age, doesn’t 
consist in leading a comfortable existence ... a 
string of pearls—a couple of cars. It’s too soon for 
that. It’s love that’s lacking, Irene; you long to 
~ Jove, just as I long to be loved. 


IRENE 
What do you want me to say? You’ve convinced 
yourself that I don’t love you— 


JACQUES 

Ah, if you knew how hard it’s been to convince 
myself of it. The stupidly hopeful stages I went 
through! I’ve clung desperately to the substitutes 
of love—from tenderness and friendship to the most 
pathetic of all—compliance. On a word or a gesture 
that I could interpret in terms of my desire I’d re- 
gain confidence. Those illusions are gone. I know 
that I can really mean nothing to you. I’m as in- 
capable of making you happy as of making you un- 
happy. .. . Oh, God! if only I could make you 
suffer ! 


202 THE CAPTIVE 


IRENE 
You can. 
J ACQUES 
How? 
IRENE 


By continuing to say these silly things! 


J ACQUES 
You know as well as I that they’re not silly. Why 
shut your eyes to it? Listen, do you know why I’ve 
made an appointment with Madame Meillant? 


IRENE 
Why, Jacques? 


JACQUES 
It was to see the effect it might have on you; 
whether you would object or seem annoyed. It 
made you laugh. That’s the only result I got. 


IRENE 
Did you want me to weep? 


J ACQUES 
I wanted to see just how far your indifference 
went. 





THE CAPTIVE 203 


IRENE 
Is it my fault if I believe in your love forme... 
if I don’t fear your being unfaithful? 


J ACQUES 
If you loved me, you would fear it. But the 
truth is, that it wouldn’t matter to you in the least. 


IRENE 
That’s not so! 
J ACQUES 
Oh, yes, it is. 
IRENE 


It would hurt me a great deal? 


JACQUES 
Hurt you? 
IRENE 
Of course? 
JACQUES 


Tell me just how it would hurt you? 


IRENE 
How can I tell you that? I don’t know. 


204 THE CAPTIVE 


J ACQUES 
Well, try to imagine. 


IRENE 
I’d be very disappointed, very saddened. I’d feel 
that—that afterwards I would not like to be taken 
m your arms again as I did before . . . there. 


J ACQUES 
[Looking at her mournfully]: As you did before? 


IRENE 
Yes. 
J ACQUES 
You really like so much to be in my arms? ‘Tell 
me! 


IRENE 
[ Lowering her head|: Why—yes. 


J ACQUES 
My poor Irene—so you think me blind? 


IRENE 
[Pause, then with an effort|: Have I—have I 
ever refused you? 


J ACQUES 
You’ve had a great deal of courage. 





THE CAPTIVE 205 


IRENE 
I thought I made you happy—that was all I 
wanted. 


J ACQUES 
One can’t give happiness so easily as that. 


IRENE 
I’m sorry. 


JACQUES 
Love, you see—is something very different. 


IRENE 
Everything I could give you—I’ve given. If that 
doesn’t suffice you— 


JACQUES 
No! 


IRENE 
Then, look somewhere else, that’s all. 


JACQUES 
You’d like that, wouldn’t you? What a deliver- 
ance for you that day would be! 


IRENE 
Oh! Jacques, that will do! [Pause.] And any- 


206 THE CAPTIVE 


way, it’s getting late and I must be going. [Gets 
coat from divan, puts it on and goes toward door. ] 


J ACQUES 
Irene? 
IRENE 
What? 
JACQUES 
Come here. 
IRENE 


What do you want? 


J ACQUES 
Forgive me. I didn’t mean—to hurt you. If I 
have, forgive me. 


IRENE 
[Going towards him]: Why are you so unjust? 


J ACQUES 
Well, you see, I can’t get used to it. 


IRENE 
Used to what? My not loving you? But I do. 
You are everything that I admire, everything that 
pleases me, everything that I respect in this world! 





THE CAPTIVE 207 


JACQUES 
[ Dejected]: Yes, I suppose so. 


IRENE 
Well, do you think that many wives can say as 
much of their husbands? 


JACQUES 
I wasn’t asking for as much, either. 


IRENE 
Do I love any one else but you? I don’t, do I? 
Well then? . . . If you had been told a year ago 
that you held the first and only place in my life, 
wouldn’t you have been happy? 


JACQUES 
Of course. 


TRENE 
Do you think my feeling for you hasn’t grown 
since I asked you to keep me here? You remember 
that day, don’t you? 


J ACQUES 
Yes. 
IRENE 
[Smiling—comes close to him]: And at Montcel, 
three weeks later, the mayor’s speech and the little 
chapel, where it was so cold; you remember that too? 


208 THE CAPTIVE 


JACQUES 


IRENE 
Do you regret what happened that day? 


J ACQUES 
Do you? 
IRENE 
No. 
J ACQUES 


That’s something anyway. 


IRENE 
Then—will you kiss me? 


J ACQUES 
You want me to? 


IRENE 
Yes,—I do. [He takes her in his arms and holds 
her there a moment, quietly, looking at her. She 
leans forward to kiss him, her left arm is raised to 
clasp him, when her eyes rest on her wrist watch.] 
Oh, look! Quarter to four! Can that be the time? 





THE CAPTIVE 209 


JACQUES 
Yes. 


IRENE 
I had no idea! Oh! what a nuisance. Now I 
won’t have time to go to the decorator’s. Hurry, 
dearest! 


J ACQUES 
What? 


IRENE 
Aren’t you going to kiss me? 


J ACQUES 
[Drawing away]: No, you’re late already. 


IRENE 
It doesn’t matter. 
JACQUES 
No, no—run along. 
IRENE 


Don’t be silly! Just because I said... . 


J ACQUES 
Go on. . . . Go— [He turns his back to her and 
walks away. | 


210 THE CAPTIVE 


IRENE 
Great heavens, but you’re touchy! 


JACQUES 
Please go! 


IRENE 
[She sighs]: See you later, then? 


JACQUES 
Yes. [IrenE goes toward door. At the door 
she turns around. | 


IRENE 
I hope you won’t make love to that woman? 


J ACQUES 
Thank you for thinking of it! 


IRENE 
You promise me you won’t? 


JACQUES | 
Yes, yes, of course. [IRENE goes out at back. 
Jacaves sits down, thoughtful, a bitter expression 
on his face. After quite a pause, he sees on the 
desk the letter Francoise has written, takes it, puts 


THE CAPTIVE 211 


it in his pocket, goes and opens a cabinet and takes 
out a rather bulky envelope, which he brings to the 
desk. He empties its contents: letters. He picks 
one at random and reads it. At that moment a bell 
is heard. He puts the letters back in the envelope. 
GerorGES enters. | 


GEORGES 
Madame Meillant- monsieur. 


| J ACQUES 
Ask her to come in. [Puts letters in desk drawer. 
A moment later Grorcrs ushers Francoise into the 
room and retires.| How are you, Francoise? It 
was sweet of you tocome. [He kisses her hand.] 


FRANCOISE 
Oh, I only came to get my letters. Don’t imagine 
it was for any other reason. 


J ACQUES 
I’m imagining nothing at all. But I may thank 
you for having come, mayn’t I? 


FRANCOISE 
Why didn’t you give the maid the letters as I 
asked in my note? It would have been much sim- 
pler. 


212 THE CAPTIVE 


J ACQUES 
I preferred their passing directly from my hands 
into yours. It seemed to me the safest way. And 
after all, why not say it: I wanted to see you again. 


FRANCOISE 
Really? And you didn’t ask yourself if J wanted 
to see youP 


JACQUES 
I ventured to think that if that were too disagree- 
able you wouldn’t come. 


FRANCOISE 
I wanted my letters, I’ve just told you that. You 
don’t seem to realize that I’ve been waiting for them 
a year. 


JACQUES 
They were here and I was circling the world. Un- 
less I were to return especially from Japan to get 
them— | 


FRANCOISE 
You could have sent them to me before you left. 


JACQUES 
I didn’t have the time. 





THE CAPTIVE 213 


FRANCOISE 
You left very hurriedly. ~ 


J ACQUES 
Very. But you weren’t anxious about your 
letters, were you? You knew they were in safe- 
keeping. 


FRANCOISE 
Oh, you think so? And suppose your wife had 
taken a fancy to search your desk? 


JACQUES 
That’s quite unlikely. 


FRANCOISE 
Just the same, such things do happen. 


JACQUES 
Not here. 


FRANCOISE 
Then your wife isn’t jealous? 


JACQUES 
Not at all. 


FRANCOISE 
Youw’re lucky! She’s not in, I hope. 


214 THE CAPTIVE 


J ACQUES 
No, she’s just gone out. 


FRANCOISE 
[Going to table and regarding picture of meee 
Is this she? 


J ACQUES 
Yes. 
FRANCOISE 
My compliments. 
J ACQUES 
Thanks. 
FRANCOISE 


Why didn’t you tell me the truth the last time 
I came here? 


JACQUES 
The truth? 


FRANCOISE | 
Yes; that you were going to be married. I should 
have preferred that, you know. It would have been 
nicer. Besides, at least it was a reason. 


JACQUES 
I didn’t tell you because I didn’t know it myself 





THE CAPTIVE 215 


FRANCOISE 
You didn’t know it? 


JACQUES 
No. 


FRANCOISE 
And three weeks later the papers announced that 
you were married! 


JACQUES 
Yes. 


FRANCOISE 
You didn’t lose much time, then? 


JACQUES 
Once a thing like that is decided upon. . . . 


FRANCOISE 
She’s a childhood friend, isn’t she? 


J ACQUES 
She’s a cousin. 
FRANCOISE 
First cousin? 
JACQUES 


No. 


216 THE CAPTIVE 


FRANCOISE 
Just as well!—And you’ve loved each other al- 
ways, of course? 


JACQUES 


Well— 


FRANCOISE 
Oh, you can tell me now. I really don’t know 
why I’m asking you; it matters to me so little. 


JACQUES 
Then— 


FRANCOISE 
Give me my letters, won’t you? 


J ACQUES 
Are you in such a hurry to get them? 


FRANCOISE 
Yes. 
J ACQUES 
Why? 
FRANCOISE 


Because. 


THE CAPTIVE 217 


JACQUES 
I’m not asking you for mine! 


FRANCOISE 
I burned them long ago. 


JACQUES 
Really? 


FRANCOISE 
Besides, for all the letters you ever sent—and for 
all they ever said— 


J ACQUES 
Just the same, it wasn’t very nice to burn them. 


FRANCOISE 


Why should I have kept them? 


JACQUES 
To re-read them now and then. 


FRANCOISE 
I had other things to do. 


J ACQUES 
Ah? 
FRANCOISE 
Jacques—my letters! 


918 (THE CAPTIVE 


JACQUES 
Not right away! Wait a bit. We’ve so many 
things to say to each other first. 


FRANCOISE 
We have absolutely nothing to say. Besides, your 
wife may come in at any minute, and I’m no more 
anxious to meet her than she is to meet me. 


JACQUES 
Sit down. She won’t be here for at least an hour. 
And even then she won’t come into this room. 


FRANCOISE 


How do you know? 


JACQUES 
I told her I was expecting you. 


FRANCOISE 
You told her that? 


JACQUES 
Yes. 


FRANCOISE 
And she was willing? 


JACQUES 
Of course. 


THE CAPTIVE 219 


FRANCOISE 
Well! You have trained her properly! 


JACQUES 
Now, do sit down and tell me everything. 


FRANCOISE 
But P’ve nothing to tell you. [Sits on divan.] 


JACQUES 
Oh! Come now! [Draws up chair and sits near 
her. | 


FRANCOISE 
What do you want to know? 


J ACQUES 
With whom are you in love? 


FRANCOISE 
That, my dear Jacques, is my— 


J ACQUES 
What do you care? I promise not to tell a 
soul. . . . Is it Moreuil? 
FRANCOISE 


Perhaps. 


220 THE CAPTIVE 


J ACQUES 
Seriously? Moreuil? Oh! but he’s an awful look- 
ing fellow! [He looks at her. She does not falter. | 
No. You didn’t protest. It isn’t Moreuil. Then 
who is it? 


FRANCOISE 
Heavens, you’re impossible! [She laughs. ] 


J ACQUES 
Ah! you’re laughing—that’s nice. 


FRANCOISE 
I’m laughing because you disarm me. But, be- 
lieve me, I’ve no desire to. 


JACQUES 
You should laugh. It’s very becoming to you. 
You’re lovely when you laugh. 


FRANCOISE 
I don’t care to be lovely. 


JACQUES 
What a fib! 


FRANCOISE 


Do you think I care a thing about attracting you 
now? 


7 — 


THE CAPTIVE Q21 


J ACQUES 
Oh, I don’t say that you care especially about it,— 
but you’d just as soon I thought you pretty. Well, 
I find you pretty, very pretty, even prettier than 
I remembered. Were you as pretty as this before? 


FRANCOISE 
Jacques, please give me my letters and let me go. 


J ACQUES 
I'll give them if you tell me with whom you’re in 
love. 


FRANCOISE 
I’m in love with no one. 


J ACQUES 
No one? 
FRANCOISE 
No! 
JACQUES 
Is it true? 
FRANCOISE 
Oh! ... Id tell you . . . why not? 
JACQUES 


[Thoughtfully, looking at her]: Francoise? .. . 


222 THE CAPTIVE 


FRANCOISE 
What? 
JACQUES 
If you love no one, won’t you—try to love me a 
little? 


FRANCOISE 
You? Ah, no, I should say not! 


JACQUES 


Why? 


FRANCOISE 
No, thank you! That’s all over, fortunately. 


J ACQUES 
[ Pause |: Too bad— 


FRANCOISE 
You think so? 
JACQUES 
Yes, it’s too bad. . . . If you had wanted to love 
me... just a tiny little bit . . . I could have 
loved you so much. 
FRANCOISE 


Your 


THE CAPTIVE 223 


JACQUES 
Yes. 


FRANCOISE 
You, love? Why, you don’t even know what the 
word means! 


JACQUES 
Do you believe that? 


FRANCOISE 
I know it. For you, love is an amusing pastime. 
It isn’t your fault; you were born fickle. 


J ACQUES 
I was born faithful, Francoise. 


FRANCOISE 
Faithful to whom? 


J ACQUES 
To you, if you wish it. 


FRANCOISE 
And your wife, what about her? Are you already 
dissatisfied with her? Poor girl! How I pity her! 


J ACQUES 
She isn’t to be pitied. 


224 THE CAPTIVE 


FRANCOISE 
One year! Not even that—eleven months! Eleven 
months ago you married her, and already you’re 
looking for an adventure. But then I was certain 
how it would turn out. 


JACQUES 
Really? 


FRANCOISE | 

When I read your note a while ago, I didn’t have 
a moment’s doubt. From the way in which you 
asked me to come, I understood immediately what 
you wanted. 


JACQUES 
And you came, just the same? 


FRANCOISE 
Because of my letters. 


JACQUES 
True enough,—pardon me! 


FRANCOISE 
But I knew perfectly well that you were thinking 
much less about returning them to me, than in see- 
ing if I still loved you. I know you, Jacques! 


THE CAPTIVE 225 


JACQUES 
Not so well. 


FRANCOISE 

Oh, come now, it’s so natural. ‘After that long 
trip, you came back to Paris, and began getting 
bored. For a man like you, married life is terribly 
monotonous, isn’t it? A distraction’s almost impera- 
tive! Only, my dear Jacques, you were wrong in 
thinking me still available. Your Francoise no 
longer loves you! And that’s that! 


JACQUES 
[Pause]: Well—never mind... . [He rises.] 


FRANCOISE 
That surprises you, doesn’t it? 


JACQUES 
What? 


FRANCOISE 
That one should be able not to love you. 


JACQUES 
[Sadly]: No, it doesn’t—it doesn’t surprise me 
in the least, I assure you. It’s the way things have 
been going. 


FRANCOISE 
[ After a moment]: Well, then? 


226 THE CAPTIVE 


J ACQUES 
Then nothing. I’m going to give you your let- 
ters. That’s all. [He goes to desk, takes out the 
envelope containing the letters and brings it to 
Francotse.] ‘They are all there. 


FRANCOISE 
[Looking at him]: What’s the matter? [She 
tukes letters and puts them in her lap.] 


JACQUES 
Nothing. 


FRANCOISE 
[She rises and letters fall to floor]: Why do you 
look so unhappy, all of a sudden? 


JACQUES 
Do I? 


FRANCOISE 
You’re not going to tell me that I’ve hurt you? 


JACQUES 
No. 


FRANCOISE 
Then what’s troubling you? 


THE CAPTIVE 227 


J ACQUES 
Nothing, my dear, nothing at all. I’m unhappy 
because—because we’re going to part and will never 
see each other again, that’s all. 


FRANCOISE 
What do you care? 


J ACQUES 
I shall miss you. 


FRANCOISE 
Have you missed me much during the past year? 


J ACQUES 
Perhaps— 


FRANCOISE 
What a story! You would have told me! 


JACQUES 
How? 


| FRANCOISE 
You could have written me,—TI hadn’t forbidden 
you to. 


JACQUES 
That’s true. 


228 THE CAPTIVE 


FRANCOISE 
Not a line—not even a post card—nothing! And 
still you expect me to Jove you. You must admit it 
would be too stupid of me! 


J ACQUES 
It’s never stupid to love... . 


FRANCOISE 
It is to love you. 
J ACQUES 
That’s funny! 
FRANCOISE 
What’s funny? 
JACQUES 


How little you know me, my dear Francoise! 


FRANCOISE 
Ah? 
JACQUES 
Really. 
FRANCOISE 


Whose fault is that, then? 


se a 


THE CAPTIVE 229 


J ACQUES 
Oh! It’s mine, I realize that. 


FRANCOISE 
If you were capable of love, why did you never 
show it to me? Why did you always belittle the 
love I had for you? The day may come, Jacques, 
when you’ll be sorry for that. 


JACQUES 
Be content, my dear, I’m sorry for it already. 


FRANCOISE 
No, not yet. You’re still too young. But— 


JACQUES 
You can’t imagine how sorry I am, Fran- 
coise. 


FRANCOISE 
Truly? 
J ACQUES 
Yes. 
FRANCOISE 


[After a pause, looking at him]: You’re without 
doubt the most bewildering man I’ve ever known! 
Things happen when one least expects them, with 
you—and when it’s too late! 


230 THE CAPTIVE 


JACQUES 
Are you sure? 
FRANCOISE 
Of what? 
JACQUES 
That it’s too late? 
FRANCOISE 
Of course. 
JACQUES 


Francoise. . . . [He takes her hand.} 


FRANCOISE 
Don’t— 


JACQUES 
Are you sure that way down, way down in you— 
there isn’t a little flicker—that might be revived— 
by my being very careful? . . . Tell me? 


FRANCOISE 
No! I don’t want to! 


JACQUES 
Too bad. 





THE CAPTIVE 231 


FRANCOISE 
Where are my letters? 


JACQUES 
On the floor. [He picks them up.] 


FRANCOISE 
Give them to me. 


J ACQUES 
Will you do one last thing for me? 


FRANCOISE 
What? 


JACQUES 
Since it’s over, since we’re going to say good-by 
and never see each other again,—let me kiss you. 


FRANCOISE 
Yourre silly! 


: J ACQUES 
Please. Id like, just once, to see your eyes 
again— 


FRANCOISE 


My eyes? 


JACQUES 
Yes. Oh, not as they are now, not your everyday 
eyes. But the old-time eyes—the eyes I used to 


232 — THE CAPTIVE 


know— [Going toward her.] I want to see those 
eyes again—just to see them. 


FRANCOISE 


No. 


J ACQUES 
After that, you can go away. I shan’t try to 
hold you, I promise. Grant me that one little hap- 
piness. [He moves to take her in his arms. | _ 


FRANCOISE 
[ Resisting]: No, I don’t want to! 


JACQUES 
Please, please let me. 


FRANCOISE 
[Imploring ]: Let me go! 


J ACQUES 
Francoise !—[He embraces her.] 


FRANCOISE 
Let me go! I implore you! I don’t want to— 
[More feebly.] I don’t want to—I don’t wa— 
[Their lips meet. She abandons herself to him. 
The kiss, a long one, leaves her prostrated, her head 
thrown back on his shoulder, her eyes closed. | 


THE CAPTIVE _ 233 


JACQUES 
[Looking down at her, in a low voice]: How beau- 
tiful! 


FRANCOISE 
[Quietly, without moving]: What’s beautiful? 


JACQUES 
A woman! 


FRANCOISE 

[Releasing herself gently]: I suppose you’re 
happy now? You’ve had what you wanted? I was 
almost consoled, I had almost forgotten you. ... 
And I had to come here to give you the satisfaction 
of torturing me all over again! . . . I don’t know 
what I’m going to do. . . . And I knew what would 
happen, I knew! 


J ACQUES 
[Smilingly approaching her]: My sweet Fran- 
golse. ... 


FRANCOISE 
Oh! no, no, don’t come near me, Jacques, please! 
You wanted to know if you still had your power over 
me. Now that you’ve seen that you have, it ought 
to satisfy you. 


234 THE CAPTIVE 


JACQUES 
Do you really believe that that satisfies me? 


) FRANCOISE 
You don’t want to hurt me all over again, do 
your 


J ACQUES 
No, Frangoise. 


FRANCOISE 


Then give me my letters and let me go! 


JACQUES 


No. 
FRANCOISE 


You won’t give them to me? 


JACQUES 
I’ll bring them myself to your house. 


FRANCOISE 
No! 
JACQUES 
In a little while. 
FRANCOISE 


You will not! 


THE CAPTIVE 235 


JACQUES 
Will you be there at about five? 


FRANCOISE 
No, I will not be there! 


JACQUES 
[ Tenderly]: Yes, you will. 


FRANCOISE 
But I don’t want you to come! 


JACQUES 
[Taking her by the arm and forcing her to look 
at him]: You don’t want me to? 


FRANCOISE 
[ With less conviction |: No— 


JACQUES 
Truly? You don’t want me to? 


FRANCOISE 
[In a supplicating tone]: No. 


JACQUES 


Francoise—! [Again he embraces and kisses 
her.] 


236 THE CAPTIVE 


FRANCOISE 


Oh! It’s going to begin all over again. 


J ACQUES 


What is? 


FRANCOISE 
Everything, as it was before. 


JACQUES 
Not as it was before. 


FRANCOISE 
Oh! 
J ACQUES 
You’ll see! 
FRANCOISE 


It will be just the same, I know. 


e) ACQUES 


No. 


FRANCOISE 


Why? What’s been changed? 


JACQUES 


Me. 


a a ee 


THE CAPTIVE 237 


FRANCOISE 
Do you believe people change? 


J ACQUES 
They learn a little. 


FRANCOISE 
[ Smiling]: While traveling? 


J ACQUES 
Yes, while traveling. 


ERANCOISE 
What do they learn? 


J ACQUES 
To love the people of their homeland, the people 
who speak their language. It’s tiresome to talk 
when one isn’t understood. One wearies of it. 


FRANCOISE 
[ Surprised, looking at him]: Poor Jacques! 


JACQUES 
Don’t pity me; I’ve come back to my own people. 


FRANCOISE 
[ Leaning against him; tenderly]: Oh! Jacques— 
it’s terrifying! I already loved you when you were 


238 THE CAPTIVE 
quite detestable ; what will it be like if you start being 
a darling? 


JACQUES 
You'll love me a little more, that’s all. 


FRANCOISE 
[Nesiling against him]: My dear one... I’m 
happy. ... [Pause.] 


[ The nun of a door is heard. Jacaues listens in 
surprise. FRaNocoIsE starts. They separate.) 


FRANCOISE 
What is it? 


J ACQUES 
Probably my wife returning. 


FRANCOISE 
[Nervously]: Ah! I knew it! 


J ACQUES 
Don’t worry, she won’t come in. [They listen a 
few seconds in silence.] You see? Does that reas- 
sure you? You can go without meeting a soul. 


FRANCOISE 
[Very moved]: But—you’re coming? 


THE CAPTIVE 239 


JACQUES 
Of course I’m coming! 


FRANCOISE 
Till you do, my love! 


J ACQUES 
Till I do, my love! [He opens the door. She 
goes out, he following her. A few seconds later 
he reénters followed by GrEorGEs. | 


GEORGES 
Madame asked me to let her know as soon as you 
were alone, monsieur. 


JACQUES 
[Puts letters away. Annoyed]: Well... go 
and tell madame. Then bring my hat and my over- 
coat. 


GEORGES 
Yes, monsieur. [He goes out at right to Irrnr’s 
room. A moment later IRENE enters. | 


J ACQUES 
Back already? 


IRENE 
Yes. [She seems curiously disturbed and un- 
natural. | 


240 THE CAPTIVE 


JACQUES 
You weren’t gone very long. Well,—what about 
the painting? 


IRENE 
What painting? 


J ACQUES 
Praxine’s painting—the one you wanted to buy. 


IRENE 


Oh, yes. 


J ACQUES 
Didn’t you bring it back with you? 


IRENE 
No ... Jacques, I’d like to talk with you... . 
May I? [Gerorces enters from rear door with 
Jacques’ hat and coat.| Oh, are you going out? 


J ACQUES 
Yes, but I have a few minutes to spare. [T7'o 
Gerorces.| Put them there. [Grorcers puts hat 
and coat on arm of divan and goes out.] What did 
you want to tell me? 


IRENE 
Pll wait until you come back. 


THE CAPTIVE 241 


JACQUES 
Please don’t. 


IRENE 
I'd delay you. [He looks at her and is struck by 
her appearance. | 


JACQUES 
What’s the matter with you? 


IRENE 
Nothing. Ill tell you when you get back. 


JACQUES 
No. ‘Tell me now. 
IRENE 
It’s not so urgent. 
JACQUES 


Oh, come, tell me—what is it? 


IRENE 
. . . Jacques, I’d like to go away—to leave Paris. 
JACQUES 
Leave Paris? 
TRENE 


‘Yes. 


242 THE CAPTIVE 


J ACQUES 
But what for? 


IRENE 
I’m just asking you to. 


J ACQUES 
What does it mean? Where do you want to go? 


IRENE 
We might go for a while to Montcel. Father 
would be only too happy. He suggested it several 
times. All we need do is wire the caretaker. He’d 
meet us at Limoges with a car. 


J ACQUES 
But why do you want to leave Paris? We’ve 
hardly been back a month! 


IRENE 
I know. : 
JACQUES 
Why this whim? 
IRENE 
It’s not a whim. 
JACQUES 


Explain yourself, then. 


THE CAPTIVE Q43 


IRENE 
I hoped—that you’d understand. 


J ACQUES 
That I’d understand? 


IRENE 
Yes. 


JACQUES 
No, I don’t understand. 


TRENE 
I mustn’t—remain here. 


JACQUES 
[ Forcibly]: But why not? 


IRENE 
[Trembling all over, her head lowered]: T’ve seen 
her again. 


JACQUES 
Ah?— [Pause.] Where? 


IRENE 
Praxine’s. . . . She knew I was to be there. She 
was waiting for me. 


Q44 THE CAPTIVE 
JACQUES 


How did she know? 


! IRENE 
She knows everything. 


JJ ACQUES 
Then she knows Praxine? 


IRENE 
She had met him once, in Vienna. 


JACQUES 
Did you know that? 


IRENE 
No, of course not. 


JACQUES 
So—you spoke to her? 


IRENE 
She spoke to me. 


J ACQUES 
In front of Praxine? 


IRENE 


No. 


THE CAPTIVE Q45 
JACQUES 


What did she say to you? 


IRENE 
Oh !—I don’t remember now. 


JACQUES 
You don’t want to tell me— 


IRENE 
Really, I don’t remember,—I was hardly listening. 


JACQUES 
She asked to see you again, I suppose? 


IRENE 


. Yes. 


JACQUES 
What did you answer? 


IRENE 
. . . That I didn’t want to. 


| JACQUES 
And then? 


IRENE 
She said—that she would wait. 


246 THE CAPTIVE 


JACQUES 
Until when? 
IRENE 
.. « Until I came. 
JACQUES 


Isn’t she going to Switzerland? [Irene shakes 
her head.| Or is she cured? 


IRENE 
She says she doesn’t care if she dies. 


J ACQUES 
Don’t worry, she won’t die. ‘That’s the old story, 


IRENE 
She never lies. 


J ACQUES 
Can’t her husband take her away? 


IRENE 
They’re not together any more. She has left him. 


JACQUES 
Really? 


THE CAPTIVE Q47 


IRENE 
[After a pause]: Jacques,—is it true that he 
came to see you a year ago? 


JACQUES 
Yes. How did she know that? 


IRENE 
She didn’t tell me. [Pawse.] It was after that, 
that she left him. 


J ACQUES 
So much the better for him. Is there no one with 
her who could take her away? 


IRENE 
[Shaking her head]: No one. [Controlling her 


feeling.| She is alone—all alone— 


JACQUES 
[After looking at her a while in silence]: Ah! 
She’s very clever—one must admit that! [Irene 
shrugs her shoulders.| Mustn’t she be clever to be 
able to upset you like this at your first encounter? 


IRENE 
How do you know that she wasn’t more upset 
than I! 


248 THE CAPTIVE 


J ACQUES 
Of course, that was part of the plan! What sur- 
prises me, though, is that seeing you in this condition 
she should have let you escape, that she didn’t at- 
tempt to hold you— 


IRENE 
Do you think—that she didn’t try? 


eo) ACQUES 


Well, then? 


IRENE 
To get away, I had to promise that I’d go to see 
her later. 


J ACQUES 
[Ironically]: Splendid! [A slight pause.] And 
—do you intend seeing her? 


IRENE 
You know very well I don’t. 


J ACQUES 
Have you the courage not to? 


IRENE 


Yes. 


THE CAPTIVE 249 


J ACQUES 
It will be hard, won’t it? 


IRENE 
[Barely speaking the word]: Yes. 


JACQUES 
How long—will you be able to resist? 


IRENE 
I don’t know. That’s why I’m asking to go away. 


J ACQUES 
Well, then, go. Who’s preventing you? You 
don’t need me for that, do you? 


IRENE 
You won’t come? 
J ACQUES 
No. 
IRENE 
Why? 
JACQUES 


You want to know why? Look at yourself! You’re 
breathless—your eyes are dazed—your hands are 


250 THE CAPTIVE 


trembling—because you’ve seen her again, that’s 
why! For a year I’ve been living with a statue and 
that woman had only to reappear for the statue to 
come to life, to become a human being capable of 
suffering and trembling! Well, I give up, Irene, do 
you understand? I give up! Ive loved you more 
than anything in the world, you know that. I’ve 
proved it to you. As long as I hoped that some 
day you might love me as I loved you, as a man and 
woman can love each other, with body and soul, I 
accepted the rédle of your guardian. But now I’ve 
had enough. I resign from a useless and ungrate- 
ful task. Protect yourself, if you can. It doesn’t 
interest me any longer. It’s over! I’m tired of pur- 
suing a phantom. D’Aiguines knew what he was 
talking about when he said, “Leave her alone, get 
out of her way, she isn’t for you.” He was right— 
Fortunately, there are women who are for us. 


IRENE 
Madame Meillant, for instance? 


J ACQUES 
Yes. 


IRENE 
And I’ve tried so hard. 


THE CAPTIVE 251 


J ACQUES 
I didn’t ask you to. It was you who came to me. 


TRENE 
Then you should have turned me away. 


J ACQUES 
You shouldn’t have said that you could love me. 


IRENE 
How did I know? I tried my best to love you! 
You always speak of what you have done! What 
about me? What about me? What about my feel- 
ings,—did you ever know anything about them? Did 
you ever give them so much as a thought? You 
loved me, it’s true, but in your way. 


J ACQUES 
Were you expecting platonic love from me? 


IRENE 
I expected a little more tenderness. Is there no 
spirit in love? Must it be only—the body! 


J ACQUES 
Yes, you loathed that, didn’t you? Go on, say 
it, be frank at least! [Inenr lowers her head, and 
does not answer.] But don’t bother, don’t say it! 
What for? I’ve known it for a long time. 


252 THE CAPTIVE 


IRENE 
[ Without looking at him]: Have you? 


J ACQUES 
You wouldn’t have thought so, is that what you 
mean? Well, you are rid of it now. You can breathe 
freely at last! Ill never impose my desire again. 
No more of that drudgery. It’s over! Aren’t you 
going to thank me? 


TRENE 
[ After a moment]: Have you nothing else to say 
to me, Jacques? | 


J ACQUES 
No, really, I haven’t. I think we’ve said all there 
is to say! Everything is quite clear, now. You can 
do what you like—I don’t care any more. [He takes 
his hat and coat from divan.| Good night. 

[He goes out. She follows him towards the door. 
As it closes she utters a half stifled cry. Then 
she sits down, deep in thought, in a chair, her 
forehead resting in her hand. Josrrutne, the 
maid, enters from IRENE’s room, carrying some 
flowers in a box.] 


IRENE 
What is it? 





THE CAPTIVE 253 


J OSEPHINE 
Some flowers for you, madame, that have just 
come. [She puts the box on the desk and opens it. 
It contains a large bunch of violets, like those 
in the first act.] 


IRENE 
Who brought them? 


J OSEPHINE 
The florist, madame. 


IRENE 
Ah? [Pause.] Was there no letter with them? 


J OSEPHINE 
No, madame, nothing at all 


IRENE 
That’s all, Josephine, thank you. 

[JosEPHINE goes out. IRENE slowly turns and looks 
at the violets. She walks toward them, lifts 
them from the box, caresses them. Her eyes 
become fixed and hard. She turns toward the 
door through which Jacaurs went out. She 
looks at the flowers again, seems to hesitate, 
then abruptly gets her hat, and rushes out to 
her room. | 


O54 THE CAPTIVE 


[After a few moments the rear door opens and 
JacauEs appears. He closes the door as he 
enters. He slowly takes off his hat and coat 
and sits down at his desk, meditating. At that 
moment the outer door of the apartment is 
heard to slam. JacauEs raises his head. | 


JACQUES 
[ He rises, goes to door leading into IRENE’s room, 
opens it, steps in and calls gently]: Irene? ... 
[ Again, louder and anxiously]: Irene? [He then 
reénters, looking surprised, and crosses hurriedly to 
desk, where he rings bell. GrorcEs enters.] Has 
madame gone out? 


GEORGES 
Yes, monsieur, Just a moment ago. 


J ACQUES 
Oh! [Pause.] Did she leave any message? 


GEORGES 
No, monsieur. 


| J ACQUES 
[After a pause]: All right, Georges. [He sits 
down at desk.| Youcan go. [GrorcEs goes toward 
rear door then seeing hat and overcoat on chair, 
turns. | | 


THE CAPTIVE 255. 


GEORGES 
Shall I take these away, monsieur? [Jacaurs, 
absorbed in his thoughts, does not hear him. After a 
few moments, he raises his head and notices GrorcEs. 
standing there. | 


J ACQUES 
What? 


GEORGES 
I was asking monsieur if I should put his hat and 
coat away? 


JACQUES 
[After a pause]: No. Leave them. I’m goin~ 
out, too. 
THE CURTAIN FALLS 











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